The Last Movie You Watched? ver.2.0


#925

I have to disagree … if all the Superhero stuff was stripped away and it was a modest budget movie with a few members from the cast of The Sopranos, no one would have ever noticed it.

Story wise, it’s a Nicolas Cage straight to video special … without the pleasure of watching Cage go over the top as per … :smiley:


(Mickey13) #926

Guilty as Sin (1993) - Director: Sidney Lumet - 7/10 - Not gonna lie, I liked this one a lot. Not sure why people dislike Don Johnson as an actor. He might’ve been an ass in his private life, but he was a fairly gifted performer and he is really at the top of his game here. He plays a psychotic womanizer accused of murdering his wife. He engages in a twisted cat-and-mouse game with his lawyer who is supposed to defend him in court, but as more time elapses, she feels she can no longer trust her client and grows increasingly apprehensive of him. Undoubtedly not one of Lumet’s best efforts, but it’s definitely far from being really terrible.

Shattered (1991) - Director: Wolfgang Petersen - 6/10 - An expertly executed piece of nonsense. It tries to emulate or pay tribute to the legacy of Hitchcockian filmmaking, but the way action is resolved leaves a lot to be desired. Nonetheless, it’s well pieced together and its technical nimbleness and competent acting are probably the elements that keep this thing afloat and prevent it from becoming a nonsensical debacle of a motion picture.

Disclosure (1994) - Director: Barry Levinson - 5/10 - “Pure and simple trash masquerading as significance.” Wew Gene, I guess I need to give it a look then. Well, it was definitely fun to view, but there is something to what Siskel says. While the premise itself ain’t bad at all, the film gravitates more towards trashy side of things and never fully explores the nature of corporate shenanigans in depth. The whole intrigue constitutes more of a glossy veneer that functions mostly on a purely decorative level rather than comprises a meaningful hub of the story. That is not to imply that it’s not there, but the script never genuinely taps into the potential the initial premise offers, remaining content with Moore gallivanting around and giving Douglas dirty looks. The flick is likewise somewhat anti-climatic in the way it’s structured which also introduces several problems: the final revelation of the collusion lacks punch and the corporate connivance feels more like an afterthought rather than an irreplaceable heart of the tale. The motion picture also lacks a firm narration that could underpin the intrigue. The showdown featuring a VR with some amusingly cheesy CGI is hilarious and clearly denotes the time when it was made.

Cohen and Tate (1988) - Director: Eric Red - 4/10 - It’s got a very interesting concept at the center of its story, however, the script doesn’t really take it anywhere. It’s more of a meandering kind of drama that regrettably suffers from both the irritating-kid syndrome and all kinds of asinine action truisms. If you’re in a mood for this kind of film, you’re better off viewing or re-watching Cani arrabbiati instead. Scheider is the best thing about the whole venture, but even he can’t redeem this uninspired piece of shite.

Deceived (1990) - Director: Damian Harris - 5/10 - The only thing that makes this one stand out is Heard’s electrifying performance. It’s easy to predict what’s going to happen next and its shocks are too conspicuous for anyone who has seen more than two or three movies of this kind. Regardless of its predictability, the execution is perfectly adequate and that paired with the excellent acting by Heard makes the movie worth a look in my estimation.

Descending Angel (1990) - Director: Jeremy Kagan - 5/10 - Instead of trying to make the most of the dramatic potential this sort of script offers and depict the struggle to atone for one’s atrocious misdeeds, it unfortunately veers in the conspiratorial direction with predictable results. The Parallax View it ain’t and most of the time, whenever the director tries hard to endue the whole affair with this conspiracy thriller edge, it all falls flat and looks quite pitiful to be perfectly honest, which makes itself painfully apparent particularly during the denouement. With that being said, the movie remains moderately engrossing by virtue of its somewhat unusual cultural setting which sets it off from the rest of similar movies. The cast is nothing to sniff at either and the acting is another feature that makes it enjoyable in a very perfunctory fashion.

A Kiss Before Dying (1991) - Director: James Dearden - 5/10 - Dillon’s acting flair is probably the only component that prevents the movie from sucking big time. Okay, the execution in and of itself isn’t too bad either, but it’s nothing exceptional at the same time. The most evident issue here is Sean Young’s acting. Not sure what went wrong, as she’s not that much of a terrible actress, but her performance here is way too stiff and way off for some odd reason. Also, let me quote Ebert, he is spot on here: “her character seems to know too much of the story; she has a detachment that’s not appropriate, a way of seeming to know, like we do, what the real outcome is going to be. It undermines the concern we feel for her.” Likewise, the way it slavishly enshrines and flaunts its Hitchcockian influences is both amusing and exasperating. Yes, we get it, you’re well-versed in classic films, whoo, so classy.


(Bill san Antonio) #927

Last 10:

  1. Fujita: Lady Snowblood
  2. Kaufman: Return to Nuke 'em High vol 1
  3. Jarmusch: Dead Man
  4. Meyer: Beneath the Valley of the Ultra vixens
  5. German: Dvadtsat dnei bez voiny
  6. Teague: Cujo
  7. German: Moi drug Ivan Lapshin
  8. Iannucci: Death of Stalin (T)
  9. Hitchcock: Rear Window
  10. Argento: Tenebre

(Asa) #928

Last eleven days:
Mission: Impossible - Rogue Nation (McQuarrie, 2015) :star::star::star:
The Station Agent (McCarthy, 2003) :star::star::star::star:
Ghost World (Zwigoff, 2001) :star::star::star::star:
Sartana’s Here… Trade Your Pistol For a Coffin (Carnimeo, 1970) :star::star::star:
Downfall (Der Untergang) (Hirschbiegel, 2004) :star::star::star::star:
Adaptation. (Jonze, 2002) :star::star::star::star:
A Mighty Wind (Guest, 2003) :star::star::star:
Notes on a Scandal (Eyre, 2006) :star::star::star::star:
Twenty Four Hour Party People (Winterbottom, 2002) :star::star::star::star:
Cloverfield (Reeves, 2008) :star::star::star:
The Way of the Dragon (Lee, 1972) :star::star::star:
Million Dollar Baby (Eastwood, 2004) :star::star::star::star:
The Last King of Scotland (MacDonald, 2006) :star::star::star::star:
King Kong (Jackson, 2005) :star::star::star:
1408 (Håfström, 2007) :star::star::star:
Punch-Drunk Love (Anderson, 2002) :star::star::star::star:
Shaun of the Dead (Wright, 2004) :star::star::star:
Team America: World Police (Parker, 2004) :star::star::star:
Phone Booth (Schumacher, 2003) :star::star::star:
Wind River (Sheridan, 2017) :star::star::star::star:
The Death of Superman (Liu/Tucker, 2018) :star::star::star:
Confessions of a Dangerous Mind (Clooney, 2002) :star::star::star::star:
Minority Report (Spielberg, 2002) :star::star::star:
Ju-on: The Grudge (Shimizu, 2002) :star::star::star::star:
American Psycho (Harron, 2000) :star::star::star:
Kill Bill vol. 1 (Tarantino, 2003) :star::star::star::star:
Kill Bill vol. 2 (Tarantino, 2004) :star::star::star:

Roughly two-thirds of the way through my “Favourites From the 2000s” challenge.


(tomas) #929

So, I decided it is right time to do inevitable. To watch all those monkey movies.

Planet Of The Apes (1967)

There are two things I hate most in movies. Chimps. And court hearings. Aaaw, how I hate court dramas. Yuck. More than apes. More than crime shows. If you watch NCfuckingIS don’t speak to me. And all this is in this spectacle. But fair enough. It’s still quite intelligent scifi movie, despite that thing with english speaking apes and astronaut still babbling he is on another planet. 7/10

I didn’t watch all those sequels (four?), because I remember one thing about them: garbage!

So I jumped over Burton’s installment in the franchise, which I considered as a bit boring and headed towards the new trilogy.

Rise Of The POTA

Wow. A big surprise this was, and according to most of the reviews, not only for me. From underdog to smash hit. If you think this is a bad movie, you should see a doctor. 9/10.

Dawn Of The POTA

Still pretty good, although a bit predictable, but you know, some scenes are just fantastic - ah, that overtaking of the tank by Koba, brilliantly directed. 8/10.

War For The POTA

Pure postapocalyptic gold. Best part in the trilogy for me. I failed to hate apes in this movie. I wanted them bastards to win. Horrible, what movies can do to you. 10/10


(Mickey13) #930

ehm…

Well, at least we can still talk to each other. I think…

Added them to my watchlist.

Geez, what’s the world coming to?


(tomas) #931

Just joking. Although why the hell are crime shows so popupar is beyond me.


(Mickey13) #932

I know man, I’m joking as well. I really like full-length court drama movies, but I have no interest in any TV series of this kind.


#933

Finished up Season 1 of Rhoda and watched Shakiest Gun in the West!:laughing:


(scherpschutter) #934

Lady Bird (2017, Greta Gerwig)
****

Set in Sacramento (apparently not the place to be), in 2002, in a post 9/11 USA, this comedy drama tells the story of a rebellious young woman who insists on being called ‘Lady Bird’. She’s pink-haired, eats communion wafers (“They’re not consecrated”) and desperately wants to move to New York (the place to be).

Not just the umpteenth coming-of-age movie thanks to great performances by Saoirse Ronan and Laurie Metcalff (as the girl’s mother) and witty dialogue, occasionally of almost Woody Allen proportions. Some of the peripheral characters flirt with caricature, but both Odeya Rush and Beanie Feldstein are enchanting as Lady Bird’s two best friends, the first one hot and popular, the second one overweight and insecure.

War for the Planet of the Apes (2017, Matt Reeves)
***

The final part of the reboot trilogy . Good old Caesar, the most intelligent (man-like) of the apes, has become a Moses who must try to bring his people - sorry apes - to safety after a mad Colonel has led an attack on the apes’ colony outside San Francisco. But he also wants revenge on the madman …

The first part, Rise of … managed to breathe new life in what looked like a worn-out idea, the second, Dawn of … was not as good as the first, but still okay, so the inevitable question was: will the downward trend be reversed in the closing act? Well, opinions vary. Some have called the script morally complex and resonant, but to me it sounded above all ponderous and preachy. The film looks great and with its biblical influences and visual references to movie classics like Gladiator (the attack on the Apes colony!), Aliens (the foster ape child!) and several others, it sure is ambitious, but apes discussing their war traumas around the camp fire is not really my idea of intelligent entertainment. Nor is Woody Harrelson playing a cross between Marlon Brando and Donald Trump (he’s even building walls!)

Robin Hood (2010, Ridley Scott)
***

Not really the classic Robin Hood tale, but not the revisionist approach it was supposed to be either. Allegedly Russell Crowe wasn’t happy with the shady type of anti-hero he was supposed to portray, therefore the script was re-written a couple of times, in order to make Robin look more like the rebel from Sherwood Forest we all know. The movie tries to do what King Arthur did with the legend of the round table: telling us not what happened, but what could have happened (if we assume that Robin is a historical character)

Crowe is called Robin Longstride at the beginning of the movie, an archer in King Richard the Lionheart’s army, and the movie is mainly concerned with the question how Longstride became Hood. Not a great movie, but lavishly produced and wonderfully shot. Medieval Britain (and France) never looked better. The large-scale action sequences don’t have the intensity of similar sequences in Gladiator and Kingdom of Heaven, but some scenes set in taverns or around the campfire, with people dancing and drinking, are almost hypnotic

Outland (1981, Peter Hyams)
**½

Sean Connery is a space marshal (space as in universe, not as in cake) who discovers that things are rotten on one of Jupiter’s moons. His wife begs him to go home with her and none of his deputies is willing to support him, but of course Sean refuses to forsake his duty.

High Noon on a moon. Connery is in good form and the production design is great, but the script is paper thin and predictable. And look at those computer screens …


(Mickey13) #935

It’s hard not to agree with what you wrote, but despite all that, I really liked the movie. Very entertaining stuff. Connery is great.


(tomas) #936

I’m probably giving up on this after this scene.

What else can ape genre offer to me?
Absolute terror!!!

SY445


(Bill san Antonio) #937


#938


(Wilco Vedder) #939

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#940

Anyone see Max mon amour (1986)?


(Mickey13) #941

Not yet, plenty of superior Oshima movies. Now that we have entered that territory, you might as well view Bye Bye Monkey, as you seem so keen on ape genre now. :rofl:


#942

First I’ve heard of Bye Bye Monkey but will investigate :nerd_face:. There does seem to be a modern push for chimpanzee “personhood” https://www.nytimes.com/2018/04/07/opinion/sunday/chimps-legal-personhood.html :grimacing:


(tomas) #943

Oh my god. Stop this madness.


#944

“It’s a mad house! A mad hoooouuusseee!”