The Last Movie You Watched? ver.2.0

Well, yes, why not?
I know that others like this Bruce Lee stuff, and having fun with a film is the only real important thing anyway.

I like The Way of the Dragon, and I think it points to a lighter side to have come from Bruce. Maybe he’d have gone the full Jackie Chan route, in time.

Moonraker though
 oh dear Jesus, but that’s a pile of auld f*ckbum, right there. Awful. :face_vomiting: They should’ve jettisoned Lewis Gilbert and Roger Moore into space for that one. Although, tbf, good old Rog pulled Bond back around immediately after with For Your Eyes Only (Glen, 1981), my favourite Bond flick from the Moore era.

I rewatched the Bruce Lee movies a couple of years ago and in my opinion only Fist of Fury and The Big Boss are decent. I hated Way of the Dragon and thought Enter the Dragon was only average. Lee certainly had charisma, but I think it was his director in those two early movies, Lo Wei, who created a context in which he could show his qualities as a martial artist. Both movies tell a simple but serviceable story and apparently Lo Wei at least knew how to tell such a story. In Way of the Dragon Lee shows above all that he did not have any idea how to do this.

I know Lo Wei made a martial arts movie with Jackie Chan, I have a copy if i’m not mistaken, but haven’t watched it yet. Would be interesting to know what he made of it. Bruce Lee in a Jackie Chan mood is a nightmare, if you ask me, but Jackie Chan in a Bruce Lee mood (as far as I know the Wei/Chan movie is not a comedy)? Well, it could work.

Blues Brothers - Starts with a great scene, in which John Belushi is released from a prison. Although I’m in no way blues aficionado, I enjoyed this comedy with the stoic duo Aykroyd/Belushi. Plenty of memorable scenes, which I already want to watch again, plus some deaf parts.

Miami Blues - Alec Baldwin plays a crook released from prison and he even didn’t depart from an airport and he already kills a person, albeit accidentally. Fred Ward plays a cop who is after him and is a bit of a loser with a dental prosthesis. I was intrigued in the beginning, but somewhere in the middle came realization this is going nowhere. If watched, just for the naked Jennifer Jason Leigh.

Blues Brothers 2000 - Dan Aykroyd aka Elwood is released from a prison. No shit. But his partner Jake played by John Belushi in the original doesn’t pick him up in a new bluesmobile, because he is dead, both fictionally and in real. Great start, but almost all aspects I enjoyed previously are toned down or missing. Great ending in the original is replaced with pretty boring singing contest with lot of blues singers I don’t really care about.

Biloxi Blues - Surprisingly, no one is released from a prison in this one. I watched only half of it, then turned it off, because I don’t find the theme very interesting - Matthew Broderick enlists and as is usual with this type of movies soon enough he has sergeant (or whatever) Christopher Walken and other comrades up his ass.

Watched this at the cinema, on a double bill with ‘Animal House’ in the early 80s.

‘The Blues Brothers’, at that point in history was known as a very expensive flop, which had been panned by many critics - It was better than I expected, and much better than the unfunny and ultra obnoxious, ‘Animal House’, which was a hit !? ( I take back what I said earlier about low IQs for 70s cinema goers)

Strangely though, as the Blues Brothers became popular over the decades, due to the film’s soundtrack getting more exposure, plus TV screenings etc, I found it less and less likable each time I’ve seen it. It feels like you, as a viewer have walked in on someone’s private club, and you don’t get the joke 
 if there ever was one to begin with.

Certainly there’s some uplifting music and dance scenes, but the ‘comedy’ and intended humour of multiple car crashes, really is pretty thin. I don’t get the Belushi phenomenon at all. My 2cents :wink:

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I watched it after many years remembering almost nothing, with a suspicion I didn’t get it first time as a teenager anyway (I thought it was mediocre comedy back then).

Well, I liked the comedy element mostly, but I agree I could do without car crashes, although I definitely love what Aykroyd and Belushi are doing during the two big chases. Nothing. They just sit in a car driving with a tail of cop cars behind them. No shouting, no cursing, just their cool relaxed approach. Found that very amusing.
On the other hand, not much of that was present in the sequel’s chase which is basically reduced to just one big super crash with probably hundred vehicles demolished. When it began I thought this is stupid but as it progressed it became so ridiculous I started to laugh.

Tomas enjoying a stack of blue movies, there. I haven’t done that for a while. I chafed myself quite badly last time I did. Ruined the curtains, too. :slightly_smiling_face:

Agreed 100%, and tbh aldo you might be the first person I’ve come across who didn’t adore this load of auld tosswank, other than myself. I find John Belushi about as funny as pushing my cock into a red hot toaster, and I don’t “get” this movie at all. None of it. It’s the much-loved movie I probably dislike more than any other much-loved movie (well, either this or Withnail & I).

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Yeah, well I enjoyed only one.

Been there done that with Shawshank Redemption. Just try to mention that you dislike that and you are no longer invited to parties. :stuck_out_tongue::grin:

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Last 10

  1. Aldrich: Vera Cruz 7/10
  2. Tulio: Sensuela 9/10
  3. Kokkonen: Viu-hah-hahtaja 7/10
  4. Tarantino: Jackie Brown 8/10
  5. Allen: Irrational Man 7/10
  6. Misumi: Lone Wolf and Cub: Baby Cart at the River Styx 7/10
  7. Nikolaidis: The Sweet Bunch 7/10
  8. Hedman: Agent 69 Jensen i Skyttens tegn 6/10
  9. Godard: Pierrot le fou 9/10
  10. Inanç: Dag Kurdu 7/10

Both Sherlock Holmes movies with Downey and Law.
Top notch entertainment. The time period is very believable made.
In the second part a familiar tune came along when Sherlock rode a donkey :grinning:

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Dark Age (1987) - Director: Arch Nicholson - 7/10 - A neat little crocodile movie with a wholesome dose of humor and some decent-looking special effects. While the movie could provide more meticulously delineated characters and more elaborately detailed interpersonal dynamics besides its overarching story concentrating on the crocodile hunt, the film boasts a satisfying array of action sequences intermittently interspersed with some fairly facetious moments, which juice up the whole offering even more and make it even more fun to watch. Apart from being technically compelling for a commercial affair of this stature and having some great Aussie humor to boot, I think it’s also necessary to recognize its jocular self-awareness, which the whole fun factor comes from, and makes the whole thing so diverting to watch.

Black Day Blue Night (1995) - Director: J.S. Cardone - 4/10 - Despite intransigently trying to break free from its genre conventions and offer some genuinely surprising turnabouts, the movie fails to unravel its central mystery in a satisfying manner and instead, goes a little bit too far with its insistence on taking the viewer aback by repeatedly having recourse to ponderously interjected twists, which regrettably come to debilitate the tale and completely undermine its realism. While the flick initially boasts an astonishingly dense and lush atmosphere in the same vein as other first-rate genre examples do, most of that inspiration evaporates in the second half the instant the film begins to make one mistake after another and eventually, fails to tie up all of its loose ends, getting bogged down by its own obsession to deliver a radically novel story without taking into account whether any of this makes any sense within its narrative framework.

The Interpreter (2005) - Director: Sydney Pollack - 4/10 - It’s yet another sanctimonious political thriller peddling the same pseudo-humanistic message as other trite movies of this kind; the motion picture doesn’t venture into any particularly inconvenient field throughout its entire duration or broach any controversial topics and truth be told, doesn’t really seem to care about its ideological core as much as its overarching thriller formula, remaining adequately vague and vacuous in its political declarations so as not to prove offensive to anyone while simultaneously positing a number of bromidic slogans to preserve a certain semblance of importance and self-righteousness. What is worse, the script exponentially grows more and more preposterous as the narrative nears the end and the resolution eventually comes to be so implausible as to completely sap its otherwise compelling technical execution and the gripping storytelling.

Deep Cover (1992) - Director: Bill Duke - 7/10 - Apart from being a fairly proficient thriller in its own right, the film likewise focuses on the theme of redemption and atonement within the context of the story about the undercover cop trying to adhere to his principles whilst being constantly immersed in the criminal demimonde. The excellence of the technical execution springs from its considerate approach to the subject matter, walking a fine line between the sardonicism found in noir filmmaking and the moralism without straying into either territory for too long; hence, the motion picture maintains quite a lot of nuance and doesn’t attempt to drive its message home too zealously, thereby avoiding the pitfall of maudlinness and petty sentimentality so many films of this kind fall into.

Body Parts (1991) - Director: Eric Red - 5/10 - As I have already stated in the past, Red is nowhere nearly as adept at directing movies as he is at scripting them and Body Parts is no exception to this rule. The film is yet another example of Red’s deficiency in this department and despite the general premise posing a genuinely advantageous point of departure for an unusual supernatural horror flick, he fails to capitalize on all this potential lying dormant deep within the story’s core and seems at a loss as to how accomplish what he’s trying to achieve in the visual domain. Sure, he occasionally appears to borrow a few ideas from Bigelow while throwing in a couple concepts of his own in order to give his general vision a more polished look, but his efforts predominantly amount to aspiring to something well beyond his reach owing to the lackluster approach to the narrative and the visual rendition. Notwithstanding the aforementioned elements as well as being on the cusp of pure camp on various occasions, the film still is fairly engaging for the most part on account of originality of its underlying premise and the compelling performance by Jeff Fahey.

2010: The Year We Make Contact (1984) - Director: Peter Hyams - 7/10 - A great commercial counterpoint to Stanley Kubrick’s classic. While it obviously fails to compete with its predecessor in the philosophic field so to speak and lacks the intriguing ambiguity, which made Kubrick’s mammoth so compelling in the first place, Hyams succeeds in conjuring up a great atmosphere through the tremendous visual execution, gripping storytelling and great acting all around. Admittedly, there is no denying the fact the denouement is on the cheesy side and kind of feels cheap and nowhere nearly as effective as the rest of the story, it fortunately doesn’t undermine film’s other merits and merely proves to be a digestibly unsatisfactory resolution to the otherwise gratifying film-viewing experience.

Brain Dead (1990) - Director: Adam Simon - 6/10 - Some folks might have gripes with the fact it’s hard to distinguish flick’s reality from its protagonist’s hallucinations, which constitute a large portion of the narrative and make some of the storyline hard to follow, but I think that’s missing the point of the whole movie and it all basically boils down to sitting down and enjoying the wild ride and phantasmagoric thrills the film provides in spades. Although some flicks overdo this shtick and effectively maim their own structure, Brain Dead turns this stroke to its advantage, underpinning its main character’s perspective and enhancing the pervasive sense of confusion.

Safe (1995) - Director: Todd Haynes - 6/10 - The first half of the motion picture exhibits an exceptional dedication to audiovisual spatiality and film’s ambience, which translates into the audio mix and the visual rendition, however, this excellent depiction of chemically induced trauma experienced by the suburban housewife gets bogged down in the latter portion of the film treating of her recovery in an experimental healing facility. The primary issue with the second half consists in the aimlessness of protagonist’s recuperation at the institution; the viewer is subjected to a number of hippie-dippie dialogues and group sessions, but none of that is all that interesting or results in anything other than a series of loosely tied occurrences, turning the eerie psychological drama into a fairly inchoate medical drama and seemingly rejecting its initially outlandish arthouse aspirations. The motion picture is worth exploring for its phenomenal first half if anything, but the remainder of the tale is hardly memorable and nowhere nearly as inventive as the former part.

Lies Before Kisses (1991) - Director: Lou Antonio - 4/10 - While the movie interjects a little twist to the narrative, making the familiar story a tad more sinister than your usual court drama of this sort, the flick is ultimately let down by its insipid writing, the lackluster narrative springing from poor scripting choices and the bland direction evocative of a soap opera more than anything else. The underlying idea isn’t too bad at all, but the thing is this kind of material calls for a more edgy attitude, which could animate the composition to some extent and deliver it from the tentacles of tedium. Nevertheless, the film regrettably constitutes just a typically indifferent TV offering with nothing of note to invigorate its merely passable approach to the subject matter.

2012 (2009) - Director: Roland Emmerich - 2/10 - It is really hard to determine what is the most crass constituent of this offensively and catastrophically inane film: the preposterously bloated scope of its narration, the ludicrously stodgy social commentary bordering on self-parody, no narrative focus to speak of, the obnoxiously excessive reliance on CGI or the mind-numbing, unremitting, omnipresent stupidity. I had no intention of ever watching this steaming piece of shite, but once I stumbled upon it while watching television, I was kind of mesmerized, fascinated by its unparalleled level of ineptitude as well as the cornucopia of blockbuster cliches and felt compelled to watch it all to the very end. Some of the film is genuinely hilarious, but unfortunately not enough to make up for its protracted running time of almost three fucking hours.

The Mind’s Eye (1990) - Director: Jan Nickman - 8/10 -> 9/10 - A re-watch.

Beyond the Mind’s Eye (1992) - Director: Michael Boydstun - 6/10 = 6/10 - A re-watch.

The Rain Killer (1990) - Director: Ken Stein - 5/10 - It’s been called an American take on the giallo genre, but I’d simply call it a heavily stylized neonoir to be more precise. The movie isn’t exactly unique or particularly unpredictable in the way it unfolds or what it recounts, but I must say I enjoyed it a lot more than I had expected. Sure, the flick suffers from choppy editing at the beginning quite a bit, but the narrative subsequently stabilizes and doesn’t slacken until the very end. Janusz Kaminski’s cinematography constitutes film’s most preeminent asset and endues the whole work with a rather distinctive look clearly suggestive of neonoir imagery. You know, characters line up against window blinds letting in some burnt sienna light, that kind of thing. Another interesting thing to note is that there is a very salient dramatic component to it and it feels more like an irregular marriage of a film noir and a drama rather than a typical whodunit mystery, thereby making it feel somewhat different from a lot of movies of this sort from that period.

Blind Vision (1992) - Director: Shuki Levy - 3/10 - A film about a creep peeking on his female neighbor, who lives across the street and wants to free herself of her abusive ex-husband. One of the most fundamental issues with this motion picture dwells in the fact that there are virtually no likable characters in this one and the only person you may feel some sympathy towards is a black colleague of the male protagonist, but he is such a secondary character he hardly ever appears on screen. The central creep is supposed to be intriguing in how obsessed he is with his female neighbor, but he mostly comes across as a drooling maniac with poor social skills. Consequently, the viewer is left with a limited assortment of characters, none of which are particularly interesting to observe or appealing enough to root for. The director also doesn’t really know how to go about the whole tale and he fails to generate any interest or suspense whatsoever in the course of this poorly written and lazily executed one-dimensional psychological drama.

Timecop (1994) - Director: Peter Hyams - 5/10 - Hyams is undoubtedly a skilled director and knows how to craft a movie in an expeditious fashion, but the thing is he just can’t circumvent the fundamental principle and purpose of the flick which basically boils down to subordinating the whole movie machinery to Jean-Claude Van Damme’s cult persona. Therefore, you get a fair batch of asinine one-liners and excessive martial arts fights interjected every now and then, assiduously reminding us of the fact we’re watching a fucking Van Damme flick; this upends the relatively serious tone of the work and ultimately spoils its interesting and promising premise, which could’ve (and should’ve) been explored in a much more thought-provoking fashion. The plot also doesn’t make a whole lot of sense, but fortunately it doesn’t hinder the flow of the story all that much by virtue of Hyams swift and dexterous storytelling. As long as you are willing to accept it’s just a fucking dumb Van Damme flick it’s pretty fun to watch, but don’t expect much else.

Timebomb (1991) - Director: Avi Nesher - 6/10 - An intriguing and atmospheric espionage thriller about a victim of an MKUltra-like program striving to stay alive in the teeth of the intelligence agency endeavoring to have him killed. Nesher succeeds in creating a tightly-woven, suspenseful and reasonably believable story, but at a certain point, the film loses some of its initial inspiration and the denouement regrettably proves to be both formulaic and rather far-fetched in light of its fairly rugged first half. Still, it constitutes a well-executed piece of early 1990s thriller that’s well worth checking out for Biehn’s compelling performance alone.

The Paint Job (1992) - Director: Michael Taav - 5/10 - An unusual indie dark comedy about a house painter infatuated with his boss’ wife. Apart from taking a slightly different approach to its subject matter, the film proves to be darkly humorous quite a bit in the sense it portrays its oddball storyline in a relatively sardonic fashion, depicting passions and resentments with a fair dose of detached mordancy or facetious incisiveness so to speak. I wouldn’t say I found the motion picture to be particularly revelatory or unusually splendid in any specific field, but I can definitely see some people fond of indie filmmaking enjoying this offering a lot more than I did. All in all, it is a distinctly indie work whose most conspicuous strength dwells in its subtle charm and quaint sense of humor; the unorthodox tone is something that can turn out quite irresistible for some folks passionate about this area of filmmaking, but it’s not easy to ignore and can be an active impediment to one’s enjoyment if you’re not into this sort of thing.

Payback (1995) - Director: Anthony Hickox - 4/10 - A tawdry neonoir with some additional sleaze thrown in so as to conceal the underlying paltriness of its rather far-fetched story. The tale in and of itself isn’t all that atrocious, nevertheless, the inadequate direction and poor writing choices come to debilitate the whole effort insofar as to render the tale quite piffling and tedious to watch. Apart from C. Thomas Howell being badly miscast in the central role of a macho ex-con, the primary issue of the script lies in its hackneyed execution heavily reliant on smut and lazy turnabouts rather than engaging character development or proficient storytelling; the narrative grows worn out most visibly towards the ending and there is no disguising the fact that the immoderate number of questionable twists showered upon the viewer in the second half proves to be more of a sign of poor craftsmanship rather than some overarching scripting ingenuity supposedly referential of classic noir sardonicism.

Beyond the Limit (1983) - Director: John Mackenzie - 6/10 - While some people have remarked that the narrative is on the slacker side and makes the whole venture a lot less tense and taut than it would normally be, I find this approach somewhat refreshing and unusual in the sense it endues the flick with a quaint, nostalgic flavor and a dreamy languor that happens to be kind of irresistible within the context of the story. Gere’s character is unfaithful to the source material, but to my way of thinking, his role constitutes an astonishingly satisfactory and intriguing counterbalance to Caine’s part, who on the other hand manifests a jovial and carefree attitude as opposed to Gere’s frigid and restrained performance. That is not to say the film doesn’t have any notable flaws, for there are many, particularly in the storytelling department, nevertheless, they never bothered me too much and it was genuinely fun to watch I must say.

Through the Eyes of a Killer (1992) - Director: Peter Markle - 1/10 - A burly, attractive carpenter (obviously) turns out to be also a psycho killer (obviously), who seduces women in his spare time (obviously) when he’s not busy butchering them (obviously). The laughably deficient direction, the vertiginous and cretinously unsightly cinematography, the paper-thin script, superficial characters, the amorphous, barely functional structure and the tiresomely out-of-focus narrative all compose this singularly traumatic experience, which can only be compared to having your head leisurely nailed to the floor with a fucking nail gun. The story is written so fucking atrociously it doesn’t make much sense to put it very mildly, whereas the narration almost grinds to a halt at the 40-minute mark or thereabouts and then proceeds to the mind-meltingly obvious resolution at the most laggard pace possible, occasionally being interrupted by cringy jump scares, which seriously make you question your existence. A cinematic equivalent of hazardous biological waste.

Razorback (1984) - Director: Russell Mulcahy - 7/10 - While the main storyline is not especially original and doesn’t stray away from the general monster flick formula too much, the film benefits immensely from its phenomenal cinematography, lighting and experimentation with filming its action sequences in different film rates. Although the narration admittedly tends to stagnate on several occasions, these moments never last for too long or become much of an impediment to the whole story. The movie simply looks great, works like a charm and its action set pieces are remarkably spectacular and fun to watch. Perhaps not a classic, but still a great piece of entertainment in my book.

Black Moon Rising (1986) - Director: Harley Cokeliss - 5/10 - It’s exactly the kind of thing you think it is and does exactly what it’s supposed to do, no more no less. You’d be hard-pressed to find well-delineated characters or much character development here, but that’s not the point of the narrative, it’s all about superficial fun and film’s devil-may-care cinematic attitude. Therefore, although there is hardly any substance to the whole flick, it’s still a well-balanced, expeditious and enjoyable little 1980’s actioner that’s well worth checking out if that’s the sort of thing you’re looking for.

Dust Devil (1992) - Director: Richard Stanley - 8/10 - A unique supernatural horror film about a demon who poses as a hitchhiker, murders careless travelers and mutilates them posthumously while performing certain rituals to appease demons in the nether regions. Whereas the general premise might not sound particularly enticing or that unusual, it’s the phenomenal execution by Stanley that brings this thing to life. Stanley really invigorates the whole effort with an abundance of stylistic flourishes, the trifurcated narrative, which feels remarkably firm in spite of its relative complexity, exceedingly atmospheric locations as well as its singularly infernal ambiance. All in all, the distinguishing and most memorable characteristic of the motion picture is how incredibly sinister and sanguinary it is and how aptly Stanley takes advantage of desolate ghost towns and the austere desert landscape in portraying his singularly demonic vision.

Cape Fear (1991) - Director: Martin Scorsese - 5/10 - Although the film is technically executed in a proficient manner as you would expect from such a high-profile filmmaker, Scorsese merely festoons the basic home invasion premise with a number of philosophic and theological calculations without expanding on the schlocky interior of the story too much and thereby, simply ends up protracting something that’s fairly simplistic in spite of its more intellectual pretensions. Yes, there is a lot of talk about Nietzsche and The Book of Job and the likes, but the thing is the meat and potatoes portion of the story doesn’t really venture beyond what one is accustomed to seeing in films of this kind and a large part of the whole flick just feels oddly repetitive, which is compounded by film’s bloated running time. Before viewing the film in its entirety this time around, I had watched certain segments of it on different occasions throughout the years and kind of expected a lot more than what I eventually got.

Deconstructing Sarah (1994) - Director: Craig R. Baxley - 5/10 - The preponderant issue with the film consists in the fact that it doesn’t really know where it wants to go, alternating between a character study and a crime thriller, but without ever settling on anything for too long, which in turn introduces confusion with regard to its subject matter as well as the primary focus of the narrative. Stylish and enjoyable as it might be despite its thematic and narrative disarray, the motion picture ultimately fails to surmount its intrinsically contradictory nature and to add insult to injury, the resolution hinges on a forced plot twist, which feels by and large too underdeveloped and ad hoc to be interjected so late in the game without turning out amorphous and generally unconvincing.

Conspiracy Theory (1997) - Director: Richard Donner - 4/10

Platoon (1986) - Director: Oliver Stone - 7/10 -> 8/10 - A re-watch.

Heart of Midnight (1988) - Director: Matthew Chapman - 7/10 - While the story doesn’t make a whole lot of sense and the final product might occasionally feel disjointed on a second thought, the utterly lurid and bizarre atmosphere the venture brims over with make amends for some of film’s technical shortcomings. The film definitely appears ambitious and indubitably endeavors to work out its own visual style, but partially fails to live up to its own lofty aspirations on account of its low budget manifesting itself in merely passable performances given by supporting actors, certain plot inconsistencies and director’s sporadic inability to achieve what he’s shooting for in terms of visual resplendence. With that being said, the deficiency in the writing department never becomes a genuinely palpable hindrance to the overarching narrative and feels largely negligible in light of Jennifer Jason Leigh’s acting, the sinister, nightmarish atmosphere and the surreal aesthetics.

Murder by Night (1989) - Director: Paul Lynch - 5/10 - A neat little thriller about a man who suffers from amnesia in the aftermath of a car accident which he took part in and implicates him in a police investigation regarding a series of connected murders. A lot of facts from his personal life attest to the possibility of him possibly being the serial killer terrorizing the streets of New York. While it doesn’t have any particularly distinguishing features and isn’t too dissimilar from other TV movies from this era, the film is executed in a fairly stylish and robust fashion and greatly benefits from a number of good performances given by some familiar faces in the cast, particularly Michael Ironside.

Rainbow Drive (1990) - Director: Bobby Roth - 4/10 - The flick happens to work a lot better than it should owing to the genuinely great performance by Peter Weller as well as the terrific score by Tangerine Dream. With that being said, there is no denying the fact Roth seems at a loss for genuinely effective directional devices, doesn’t know how to jell the entire story in a satisfactory fashion and fails to introduce much narrative fluidity to the recounted tale insofar as the film feels both stagnant and hastened in its development. It’s hard to tell whether the script or the direction itself is to be blamed for this, suffice to say, the movie doesn’t offer much in terms of continuity in the storytelling department. That’s such a shame because Weller is legitimately great in this one; while the source material provides a great opportunity for developing a compelling character study, Weller’s splendid interpretation thereof simply gets misplaced in the structural jumble caused by the erratic, arrhythmic narration and the inadequate execution.

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Since I’m big fan of Stanley’s Hardware Mark 13, this was on my watchpile for some time, but tend to forget about it


I would say it’s stylistically pretty similar to Hardware, but it’s less jocular and a lot more serious. Personally, I thought it was great and liked it a lot more than Hardware, but obviously YMMV. Be sure to watch the director’s cut, as the theatrical version is reportedly almost unwatchable and messy.

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The only thing I remember about this movie is that I thought it was nothing special but a good time passer nontheless. No, there’s another thing: I remember there was an extra on the disc with Pollack discussing film formats (I think it was his first movie in 2,35:1 in quite some time, because in the VHS days movies were ruined by pan & scan

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It is pretty entertaining for the most part, but I also found its ideological core and humanistic message quite annoying and my rating likewise reflects that. Plus, the climax is pretty bad and far-fetched.

As said I don’t know anyhing about the plot. Odd, the movie seems to have dissapeared through a wormhole in my memory to a different dimension

  1. Maclean: Slow West 7/10
  2. Preminger: Advise & Consent 7/10
  3. Peckinpah: Pat Garret & Billy the Kid (-05 cut) 9/10
  4. Peckinpah: Pat Garret & Billy the Kid (-88 cut) 10/10
  5. Akinci: Hey amigo 5 mezar 4/10
  6. Saydam: Sevimli FrenkenƟtayn 4/10
  7. Atadeniz: Maskeli besler 6/10
  8. Atadeniz: Maskeli berlerin dönusu 6/10
  9. Selter: Sons of the Desert 7/10
  10. Evans: Pandora’s Mirror 5/10

Had a few weeks off Tuesday Film Nights due to holidays and moving house but back on track this week with


Alien: Resurrection (Jeunet / 1997)

This completed the Alien original 4 for my youngest daughter and it turns out we are both agreed it ranks as our second favourite of the series after the original. A nice mix of action, humour, tension and gross out blood letting with Jeunet’s particular visual aesthetic thrown in for good measure. A solid thumbs up for the whole family.

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I’ve never understood why so many fans of the series disliked this movie.

I put it off for years, then it turned out to be nowhere near as bad as I thought.

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