Looks like the 4th Sergio may have been influenced by John Carpenter on that one. The Charlton Heston trifecta of POTA, Omega Man, and Soylent Green are some of my favorite future “predicting” movies but I think, at least on some level, 2001: A Space Odyssey may best predict what we are in store for, at least AI-wise, if not The Terminator.
It’s trashy as it can get.
My expectations aren’t high
I would say it is on Fidani level, but that might diminish Fid’s ouevre.
Fid’s work is genius in comparison to this … oh boy!
There’s a few unintentional laughs, but this is a new level of inept for me. I could barely stop yawning for the last 20 minutes … what an endurance test! 1 out of 10 and that’s generous
Umberto D (De Sica, 1952) - 4/5
La Strada (Fellini, 1954) - 4/5
The Apartment (Wilder, 1960) - 4.5/5
No Country For Old Men (Cohen, 2007) - 4/5
Bonnie and Clyde (Penn, 1967) - 4/5
Hollywood Ending (2002, Woody Allen)
Not the worst Woody, as some have called it (https://www.telegraph.co.uk/films/0/woody-allens-best-and-worst-movies/), but not among his best work either. Woody plays Val Waxman (what’s in a name) a director whose name used to be on everybody’s lips but is now condemned to direct commercials. His ex-wife (Téa Leoni) persuades her actual lover - a studio head - to let him direct a major Hollywood production. Val reluctantly accepts the job, but then loses his eyesight … Quitting would possibly sideline him forever so he hires a crew member to becomes his eyes …
The film has its charms, but most jokes have a familiar ring and the premise of the psychosomatic blindness doesn’t really pay off; it sounds alright in relation to Allen’s well-known hypochondriac obsessions, but in the end it seems a bit too outrageous to work properly. As more often, Allen gets the best out of his actors; Téa Leoni - otherwise better known for her legs than her thespian talents - is a true standout.
Seen them all. Enjoyed all. Wilder excelled at making “R” rated movies before Hollywood allowed cursing and nudity.
Leoni btw, she’s not the daughter/sister/mother of our Sergio …
… I like her legs
I liked this one, quite entertainng., but remembering it didnt work that well in some scenes.
I checked the spelling of her first name (Tea? Téa? etc.) but not her family name …
And yes, those legs … (in the otherwise not very memorable Bad Boys, if I remember well)
Last ten days or so:
Rango (Verbinski, 2011)
Revenge (Fargeat, 2018)
The Hateful Eight (Tarantino, 2015)
Black Swan (Aronofsky, 2010)
Nightcrawler (Gilroy, 2014)
Tinker, Tailor, Soldier, Spy (Alfredson, 2011)
The King’s Speech (Hooper, 2010)
Three Billboards Outside Ebbing, Missouri (McDonagh, 2017)
Hostiles (Cooper, 2017)
Future Shock! The Story of 2000AD (Goodwin, 2014)
Blade Runner 2049 (Villeneuve, 2017)
Maniac Cop (Lustig, 1988)
Hell or High Water (Mackenzie, 2016)
End of Watch (Ayer, 2012)
Shutter Island (Scorsese, 2010)
Rogue One: A Star Wars Story (Edwards, 2016)
Tenebrae (Argento, 1982)
Cloud Atlas (Wachowski/Wachowski/Tykwer, 2012)
The Revenant (Iñárritu, 2015)
Mad Max: Fury Road (Black and Chrome Edition) (Miller, 2015)
Sicario (Villeneuve, 2015)
Four Lions (Morris, 2010)
The Wolf of Wall Street (Scorsese, 2013)
Suspiria (Argento, 1977)
True Grit (Coen/Coen, 2010)
Drive (Refn, 2011)
(Well, technically I’m watching True Grit as I write this and I’ll be getting to Drive later on tonight but, still)
So completes my “Favourites From the 2010s (so far)” challenge proper. For the last week of October I’m switching up to three horrors per day for a Halloween week mini-challenge, although they’ll still be my favourite horrors from the 2010s.
Never watched that one, I was thinking of Flirting With Disaster
Is the experience different in b&ch version?
To give you an idea:
I definitely prefer colour version.
I think so, yes. As beautiful (imo) as the colour version is, that desert landscape and the cars roaring across it look even better in dedicated B&W. Gives everything even more of an “other-worldly” feel.
I prefer the black and white version but, for sure, the colour version of Mad Max: Fury Road is gorgeous too. I’m perfectly happy with either. I’ve only seen two other recent(ish) colour movies given dedicated black and white treatments: The Mist (Darabont, 2007), which definitely looked miles better in b&w, and Logan (Mangold, 2017), which seemed somewhat unnecessary in b&w.
Judging with the help of only a few clips is difficult, so I’d better say nothing, but yes, if the clips give me the right impression, I’d say i prefer the colour version as well