The Last Movie You Watched? ver.2.0

(tomas) #1406

Okay, my turn:

S. Craig Zahler:

Bone Tomahawk (rewatch) > 80%

Brawl At Cell Block 99 > 90%

Dragged Across Concrete > 100% - best movie I’ve seen lately, simply breathtaking

Only God Forgives (Refn) > 50% - quite poor effort for Refn

Holmes And Watson (Will Ferrell) - 60% = According to reviews this should suck bigtime, but I don’t see much difference from other Ferrell’s work, well, if you don’t think all of his work suck bigtime. It’s not that good as Anchorman or Taladega Nights, but it’s quite okay.

Upgrade > 70% = cyberpunk with well-made action scenes, it all looks like cyberpunk version of Venom with Tom Hardy, even the actor looks like his twin.

Neill Blomkamp:

District 9 > 90%

Elysium > 70%

Chappie > 20% = A joke.

Rakka > 100%

Firebase > 60%

Zygote > 100%

Adam episodes > 100%


Refn would beg to differ, but luckily Friedkin is on your side :smile:

(tomas) #1408

Majority of viewers is on my side too. :grin:

(tomas) #1409

Oh god, I watched that video :open_mouth: now I know Refn is completely out of synch with reality.

(David ) #1410

I don’t get it either… Vertigo is one of my favourite movies ever and I had very high expectations on Rear Wndow since I’ve heard people praising it over alot of Hitchocks other works from this period. But nah, It doesn’t come close for me.


At first I thought he was just taking the piss, and I really hope he is.

It’s frustrating because I love the premise, but the film just falls flat for me. Psycho is definitely my #1 Hitchcock.

(scherpschutter) #1412

I’m not a great fan of Hitchcock. He’s very skillful at manipulating viewers, but to me that’s one of the major problems: it’s all too manipulative, lacks real depth (and in many cases: lacks any logic). I used to like him a bit more when I was younger and still like movies such as Vertigo, North by Nothwest, Dial M for Murder, The Birds, to mention a few. Other classics have lost their appeal to me: Rear window, Shadow of a Doubt, Psycho: whatever others say or think about them, to me they’re rather pointless

(Asa) #1413

A complaint which could of course be levelled at the entire spaghetti western genre. :slightly_smiling_face:

Rear Window is a good picture, imo. Not quite as smart as it thinks it is, no, but as gimmick movies go it’s probably more comfortably entertaining than it’s credited with being.

Only God Forgives is okay, too. Wasn’t keen on it at all upon first viewing but it persisted.

(scherpschutter) #1414

Of course, but most spaghetti westerns are low-budget entertainment stuff, B-movies so to speak, Hitchcock is a highly regarded major director, an artist and auteur. Hitchcock is generally considered as one of the great directors in history, along with illustrious names such as Eisenstein, Chaplin, Ford, Fellini, Tati, Leone, Scorsese, Lynch, etc. Personally I don’t think he’s in the same league. He made some very entertaining thrillers but he created very few memorable characters and most of his movies make little sense if you think about them. He was very capable at creating tension and had a special gift for voyeuristic scenes, but his work - even his later work - looks (and sounds) very dated today.

(Stanton) #1415

Only God Forgives is excellent.

Rear Window is not one of my favourite Hitchcocks, but I can easily understand why others think so.

Hitchcock’s films dated? Not really. At least mostly less than most other films of their times. Hitchcock is surely overrated (Ford or Hawks also), but not in the way several of the last comments here suggest. He made enough more conventional films, but his narrative talent shines always through, and he made some real great films. Actually more than many other famous directors. More than Leone, who made 2 of this kind. And is meanwhile also kinda overrated. :wink:

As a director of thrillers Hitchcock is the lonely king.

(scherpschutter) #1416

I don’t think numbers count, artists are judged by their best work, whether they are painters, writers, poets, directors or whatever, so I don’t count those conventional movies. Some of the greatest artists weren’t too prolific, Vermeer, Gogol, Rimbaud, Tati to mention only a few. Hitchcock’s best works are, imo, Vertigo and North by Northwest (others may have other favorites of course) and neither of the two is a true masterpiece.

(Piripero) #1417

No doubt the French New Wave’s championing of him, the sensational nature of many of his films, the sheer number of them and his genius for publicity all contributed to Hitchcock’s status as a top tier director. More than this though, I think his technique (and the box office success it brought) and his relentless focus on suspense as film’s primary motivator, impacted the evolution of mainstream cinema, Spielberg etc.

That said, like scherpschutter, I’m not a great admirer, and never have been, for similar reasons. Famously he treated his actors like puppets, and to a degree their performances reflect it. The hands of the misogynistic master manipulator are visible.

I was impressed by Psycho, back in the day, as an atmosphere piece, and would like to see it again. My favourites are also Vertigo and the more conventional DuMaurier adaptations, Rebecca and Jamaica Inn. To Catch a Thief still has charm I think.

(El Topo) #1418

I like Hitchock’s films his great films are still great, and his more regular stuff like Marnie or Torn Curtain, are also enjoyable to watch to say the least.
I’m more on Stanton side in this one, can’t forget his TV Work also, the AH Presents short stories were among my favourite stuff to watch when I was a kid never lost an episode (among with The Twilight Zone).
Among other qualities Hitchocks capacity of placing a point of humour in his films, is legendary stuff, and h was a great actors director always took the best of his actors.

Of the ones considered among his best works the ones I like most are the Birds an Psycho, the one less appealing to me maybe Rear Window. One I really like is The Rope.

My one fault is that I haven’t seen much of pre Hollywood films of the 30’s and early 40’s


Orson Welles thought Hitchcock was overrated, but I’m pretty sure that was just him being jealous of Hitch’s films actually making money and not being destroyed by studios, like his.

(David ) #1420

And Ingemar Bergman said of Citizen Kane “It’s a total bore…”

(Asa) #1421

Last couple of weeks:
Pet Sematary (Lambert, 1989) :star::star::star:
Peter Pan (Geronimi/Jackson/Luske, 1953) :star::star:
Maniac (Khalfoun, 2012) :star::star::star:
Leviathan (Zvyagintsev, 2014) :star::star::star::star:
The Vengeful Beauty (Ho, 1978) :star::star::star:
Vertigo (Hitchcock, 1958) :star::star::star::star::star:
Hereditary (Aster, 2018) :star::star::star::star:
Demons (Bava, 1985) :star::star::star:
Avengers: Infinity War (Russo/Russo, 2018) :star::star::star::star:
Raising Cain (De Palma, 1992) :star::star:
The Devil’s Rejects (Zombie, 2005) :star::star::star::star:
Dead or Alive (Miike, 1999) :star::star::star:
Velvet Buzzsaw (Gilroy, 2019) :star::star:
Wolf Guy (Yamaguchi, 1975) :star::star::star:
The Mighty Peking Man (Ho, 1977) :star::star::star:
The Burning (aka El Ardor) (Fendrik, 2014) :star::star::star:
Dragged Across Concrete (Zahler, 2018) :star::star::star:
Dead or Alive 2: Birds (Miike, 2000) :star::star::star:

(scherpschutter) #1422

Murder by Numbers (2002, Barbet Schroeder)

A little thriller, loosely based on the infamous Leopold & Loeb case. It stars a very young Ryan Gosling and a very fat Chris Penn (the pills and other stuff were definitely taking their toll by this time) and also features a bizarre scene with a baboon that seems to serve no real purpose at all.

I haven’t seen ROPE (which was also based on the case) in ages, so I can’t compare the two movies, but this one was much better than I had expected. Sandra Bullock is top-billed but the movie belongs to Michael Pitt and Ryan Gosling as the Leopold & Loeb wannabees who kill a girl in order to prove that they can get away with it. In real life the two young men were both highly intelligent and were like mirror images of each other, in the movie Pitt is the nerdy mastermind while Gosling is the ultra-cool guy, the type all peers look up to. Things lead to an inevitable climax, but thanks to a clever build-up we keep wondering what happened exactly, and who has been manipulating who.

Code 37 - De Film (Belgian - 2011, Jakob Verbruggen)

A feature length movie, made immediately after the popular (at least in Belgium) Tv-series Code 37, about a vice squad in the city of Ghent. While investigating a vicious assault on a writer of detective stories who was doing some ‘research’ in the red light district, the team leader (Veerle Baetens) starts receiving mysterious clues concerning the childhood trauma that made her want to become a police officer in the first place: as a girl she was forced to watch how her mother was raped during a home-jacking.

Beautifully made (it was compared to Fincher’s Se7en) and well-acted, but suffering from a cluttered, overly busy script. Not bad, but could have been a lot better …

Redbad (Dutch - 2018, Roel Reiné)

The movie tells the story of Frisian (pagan) King Radbad - in Dutch Radboud - and his wars against Pepin of Herstal, Lord of the (Christian) Franks. Redbad is presented as a warrior while in reality he was a calculating, authoritarian ruler who most probably never set foot on the battlefield (he died at old age from a disease). The movie was also criticized for the portrayal of missionary Willibrord (revered as a Saint by the Church) as a madman.

Redbad was not as bad as I feared after all those negative comments, but a Dutch Gladiator or Braveheart it ain’t. There’s some decent location work and the action scenes are appropriately bloody - but after the fourth or fifth battle scene things become so repetitive and mind-numbing that I don’t even remember who won the final battle. Well, maybe it was a draw.

Trance (2013, Danny Boyle)

As stylish as ever, but this late descendant of the director’s far superior Shallow Grave is a rather shallow affair. Again there are three leads (James McAvoy, Vincent Cassell and Rosario Dawson) but the convoluted story about a Goya painting, memory loss and the blurry lines between reality and fantasy promises a lot, but fails to come up with anything substantial. A major disappointment. Apparently the movie production was put on hold to give Boyle the chance to work on the Opening Ceremony of the 2012 Olympics in London and picked up again afterwards. Things do feel a little crumby and fragmented

(tomas) #1423

Started to watch it, didn’t finish.

Anyway, M. Night Shyamalan trio:

Unbreakable - 8/10

Split - 10/10

Glass - 6/10 - I was hoping for something really different to come out of this, and now I’m certain it was a bad idea to fuse the previous two movies. Yeah, we got a battle between good and evil in the final third: a guy in a hood fighting halfnaked lunatic supported by evil genius in a wheelchair. And there’s not one twist in the end, but three. Triple twist. Whoaaa! And every one of them sucks. But honestly, it’s not that bad, 70% of the movie is very good until the final act.

(Bill san Antonio) #1424
  1. Reed: Leaving Neverland (Doc) 7/10
  2. Menzies: Invaders from Mars 5/10
  3. Reggio: Koyaanisqatsi 9/10
  4. Castle: The Tingler (cinema) 7/10
  5. Scott: Alien (cin) 8/10
  6. Pyun: Cyborg (cin) 6/10
  7. Honda: Rodan (cin) 4/10
  8. Blasco: Behind the Mask of Zorro 4/10
  9. Ebersole & Hughes: Mansfield 66/67 (doc) 7/10
  10. Kaurismäki: Pidä huivista kiinni, Tatjana 10/10

(scherpschutter) #1425


SEARCHING (2018, Aneesh Aganty)

A small independent thriller (it premiered on the Sundance Film festival), that became an unexpected critical and financial success, raising some $75 million on a $1 million budget. Basically it’s a movie about an Asian-American father (John Cho) who doesn’t want to give up the search for his missing 16-year old daughter even when the authorities (and everybody else) tell him she’s dead ; what makes it so special, is that the story is shown entirely through computer screens and smartphones.

The concept may not be completely original (UNFRIENDED used a similar idea) but the movie still feels refreshingly different; unfortunately the plot becomes a little mechanical as the film progresses while the crucial twist towards the end is a typical thriller cliché. You wouldn’t expect great performances within this concept, but John Cho is magnificent and it’s actually his performance that makes it all click. Recommended