Ex Machina isn't out until April anyway.
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Movies You've Seen Recently |OT| Jan 2015
- Thread starter Charles Foster Kane
- Start date
- Status
Ex Machina isn't out until April anyway.
Sucks dude. The movie theater here in town sucks ass too, they only show box office hits basically. Which is kind of odd considering I live in the eight biggest city of The Netherlands. But the people in this town don't give a fuck about movies, the arthouse cinema went quitely. But I'm lucky enough to live close to Amsterdam (20 minutes by train).
Gonna combine a game of my football club with Birdman this sunday, that will probably be the last 2014 movie that can challenge my top spot.
Listened to a number of commentaries lately.
First Blood (w/ commentary from Stallone)
This was really interesting, certainly one of the more insightful commentaries I've listened to in a while. I had no idea just how much shit Stallone voluntarily put himself through for the sake of believability. I always figured the cave sequence was shot in a studio - nope, real cave and (apparently) real freezing cold water. He said he personally holds First Blood up as the best action film he's ever done, and I can see why.
The best part of the commentary was when he talked about how Kirk Douglas (who was originally cast as Colonel Trautman and not Richard Crenna) showed up for the first day of shooting and suggested some baffling rewrites for the film's ending. Specifically, he thought that Trautman should become Rambo at the end. John Rambo dies, and the final shot of the film is Trautman driving away in a Jeep with Rambo's headband on - some sort of weird symbolism that Trautman and Rambo were the same person. Stalone, Ted Kotcheff and the producers all responded with a unanimous "Uh...fuck no." So Douglas quit on the spot. Funny thing is, when Crenna was brought on board a mere two days later to replace Douglas, they had no time to create a new wardrobe tailored for him, so he wore Douglas' costumes which were too small for him. So they just tossed a big trenchcoat on him to cover up the fact that he was wearing clothes that were clearly not the right size.
I would definitely recommend giving this one a listen, it really enhanced the way I looked at First Blood.
The Hobbit: The Desolation of Smaug (w/ commentary from Peter Jackson & Phillipa Boyens)
This is, surprisingly, a fairly dull commentary. I say "surprisingly" because Jackson & Co. have traditionally given some pretty good commentary over his previous films. It mostly consisted of Boyens and Jackson trying a tad too hard to explain and justify their alterations to the source material in order to create a third film (which isn't all too surprising since DOS is where things really start to get bonkers). They did say that while Hobbit films 1 and 3 pretty much wrote themselves, Desolation was the one that they ended up having to craft the most new material for once they expanded to a trilogy.
I wouldn't recommend this one. Hopefully the Battle of the Five Armies commentary will be more interesting.
Gladiator - Extended Cut (w/ commentary from Ridley Scott and Russel Crowe)
I really enjoy commentaries which feature multiple people who had different roles in a film's production, since it allows for separate perspectives on each scene. This was a good one, partially because Crowe and Scott clearly have a great rapport with each other. Crowe's stories about working with Richard Harris were really charming. His stories about working with Oliver Reed on the other hand were less flattering.
First Blood (w/ commentary from Stallone)
This was really interesting, certainly one of the more insightful commentaries I've listened to in a while. I had no idea just how much shit Stallone voluntarily put himself through for the sake of believability. I always figured the cave sequence was shot in a studio - nope, real cave and (apparently) real freezing cold water. He said he personally holds First Blood up as the best action film he's ever done, and I can see why.
The best part of the commentary was when he talked about how Kirk Douglas (who was originally cast as Colonel Trautman and not Richard Crenna) showed up for the first day of shooting and suggested some baffling rewrites for the film's ending. Specifically, he thought that Trautman should become Rambo at the end. John Rambo dies, and the final shot of the film is Trautman driving away in a Jeep with Rambo's headband on - some sort of weird symbolism that Trautman and Rambo were the same person. Stalone, Ted Kotcheff and the producers all responded with a unanimous "Uh...fuck no." So Douglas quit on the spot. Funny thing is, when Crenna was brought on board a mere two days later to replace Douglas, they had no time to create a new wardrobe tailored for him, so he wore Douglas' costumes which were too small for him. So they just tossed a big trenchcoat on him to cover up the fact that he was wearing clothes that were clearly not the right size.
I would definitely recommend giving this one a listen, it really enhanced the way I looked at First Blood.
The Hobbit: The Desolation of Smaug (w/ commentary from Peter Jackson & Phillipa Boyens)
This is, surprisingly, a fairly dull commentary. I say "surprisingly" because Jackson & Co. have traditionally given some pretty good commentary over his previous films. It mostly consisted of Boyens and Jackson trying a tad too hard to explain and justify their alterations to the source material in order to create a third film (which isn't all too surprising since DOS is where things really start to get bonkers). They did say that while Hobbit films 1 and 3 pretty much wrote themselves, Desolation was the one that they ended up having to craft the most new material for once they expanded to a trilogy.
I wouldn't recommend this one. Hopefully the Battle of the Five Armies commentary will be more interesting.
Gladiator - Extended Cut (w/ commentary from Ridley Scott and Russel Crowe)
I really enjoy commentaries which feature multiple people who had different roles in a film's production, since it allows for separate perspectives on each scene. This was a good one, partially because Crowe and Scott clearly have a great rapport with each other. Crowe's stories about working with Richard Harris were really charming. His stories about working with Oliver Reed on the other hand were less flattering.
Secret Fawful
Member
I hope it expands to somewhere close to me, but even if it got within two hours of me for certain, I doubt I could get to it. Ah well.
AdrianT1987
Banned
Who's watching any of the new movies this weekend? i was considering Mortdecai but after seeing the rottentomatoes rating right now nevermind...
Serpentine
Banned
I really wanna watch The Black Sea but I only found out recently that it's limited release for now
Hah then why complain
All of the big oscar movies will be wide soon if they aren't already. Birdman will be more available (it's in 900 theaters right now I think?), Grand Budapest Hotel is reopening places.
It's definitely frustrating to live in a movie-dry area, I feel you. These should be findable though.
I might finally see Selma but other than that I'm seeing rep stuff all weekend.
Not so much the movie (Gone Girl) rather WHERE l watched the movie:
My view:
It's an outdoor cinema that runs each night by a lake for about a month. They serve food (like pizza's, hot dogs and the usual chips and chocolate etc) and drinks, but you can bring your own. They have music and stuff before the movie.
Awesome experience.
As for Gone Girl. I can recommend it. However, it didn't have a satisfying ending. Is that just me?
EDIT: Now l know why:
"The ending of the film was figured out on set."
http://thefilmstage.com/features/26-things-we-learned-from-david-finchers-gone-girl-commentary/3/
My view:
It's an outdoor cinema that runs each night by a lake for about a month. They serve food (like pizza's, hot dogs and the usual chips and chocolate etc) and drinks, but you can bring your own. They have music and stuff before the movie.
Awesome experience.
As for Gone Girl. I can recommend it. However, it didn't have a satisfying ending. Is that just me?
EDIT: Now l know why:
"The ending of the film was figured out on set."
http://thefilmstage.com/features/26-things-we-learned-from-david-finchers-gone-girl-commentary/3/
Fallout-with-swords
Banned
I was lucky enough to see it at a small film festival back in October I don't think it's been shown in my area since then (3 big theatres and 1 art house screen).
Also it was my favourite movie of the year.
Secret Fawful
Member
Hah then why complain
All of the big oscar movies will be wide soon if they aren't already. Birdman will be more available (it's in 900 theaters right now I think?), Grand Budapest Hotel is reopening places.
It's definitely frustrating to live in a movie-dry area, I feel you. These should be findable though.
This actually gives me a lot of hope. I'll keep an eye out in my area in the next couple weeks.
It's okay, though. If they don't play any good movies near me, I'm sure they'll at least find a way to show Mortdecai out here. They always find a way to consistently show the shittiest movies here.
Grinchy
Banned
lt's such a great ending IMO. The "satisfying" ending that we both wanted while watching it ultimately wouldn't have been as satisfying. It would be too happy. The ending they used is part of the reason I can't stop thinking about this movie.
AlternativeUlster
Absolutely pathetic part deux
I think I am going to go see The Duke of Burgundy and Mommy this weekend hopefully.
I am planning to watch Ex Machina and maybe Mortdecai. And then its Kingsman: The Secret service which I am really hyped about.
Outside of some narrative conveniences in the last 15 minutes that don't sit all that well with me, Ida was a lovely and striking film. I was shocked to read that the actress that played Anna was an amateur, since she did such a great job of selling the nuanced but profound changes that her character undergoes throughout the film. It's hard to believe that the film was a mere 81 minutes long, since it feels a lot longer in the best way: you want to keep watching these characters and see where their journeys take them next.
Oh holy fuck Duke of Burgundy opens here tomorrow. I thought I was going to have to wait a while still. Super excited for it, but I just copped tickets for a Matsumoto double tomorrow (R100 and Symbol) and the end of the Ostlund retro here on Saturday (Guitar Mongoloid and two shorts). Might have to make Saturday a big day and hit up Burgundy afterwards. Sorry Selma. EDIT: does Mommy go wider tomorrow too? can't find anything. [EDIT 2: found it, it's here.] Wouldn't be a priority anyway, mixed on Dolan through his first two features. maybe Laurence Anyways would change that somewhat. and what happened to Tom at the Farm, just fell through the cracks?
AlternativeUlster
Absolutely pathetic part deux
Wait, where do you live? New York just finished its Ostund retro a few days ago. Selma sucks anyways.
Not sure what it is they figured out, it's taken from the book.
AlternativeUlster
Absolutely pathetic part deux
This is the official opening of Duke (Film Society of Lincoln Center had an early showing like last Friday where Biohazard went to it) but this is the first week of Mommy here in NYC (though I think they too had an early screening with Dolan in attendance a week ago at IFC). I honestly only believe in the promise of Xavier Dolan and Laurence Anyways is somewhat of a overlong turd in retrospect but with a great soundtrack. I know he will have a great film in him and I am hoping this is it. Heartbeats was good if not a little rough but haven't seen I Killed My Mother or Tom at the Farm. If Mommy does well, I am sure someone will retroactively distribute the film here.
Los Angeles. Got a cinefamily membership this year so getting me to pay for a movie ticket is gonna be harder this year.
See I didn't like Heartbeats--rang false to me and the talking heads interviews were trash. Enjoyed I Killed My Mother though.
Mommy's at the arclight in Hollywood, and without an oscar nom I doubt it'll go any further
Messofanego
Banned
Mommy is super accessible for someone who's never seen a Dolan film, emotional, inspirational, and basically Oscar bait but good.
Messofanego
Banned
No and yes, respectively.
Femmeworth
Banned
Need to watch 2014 movies. :| Nightcrawler is at the dollar theater but I think I'd better wait for Vudu. Whiplash is finally playing near me, might go see it next week.
The Secret of Kells
Animation isn't all that great with some rough spots. Definitely needed a better script, felt rather amateur. The storytelling in general is lacking.
The Secret of Kells
Animation isn't all that great with some rough spots. Definitely needed a better script, felt rather amateur. The storytelling in general is lacking.
SCULLIBUNDO
Banned
Femmeworth said:
Never change.
I liked Blackhat quite a bit. It felt like Mann's good-bye to the modern crime genre, as it quoted and echoed moments/elements from his earlier movies but juxtaposed them violently against the immaterial world, making all their explosive bluster feel outdated as a result. The barebones storyline acts as a skeleton on which he hangs all his geeky fascination with computers, procedural details, and more abstract thematic concerns.
Visually it's his roughest and dirtiest movie. There's a fight scene in which every punch is lost in a blur of motion. Foot chases appear to happen in the middle of an earthquake. But it contains a rough-and-tumble beauty as well. There are disorienting moments where a hallway looks like a computer's innards, and multiple real-world sequences recall the 3D tour inside the virtual world that opens the movie.
The plot is silly, threadbare, and predictable. But we're in Mann's post-plot phase, and no fan of the guy watches his movies for plot anyway. Blackhat is all about mood and atmosphere. Even character doesn't matter; Hathaway gets about ten seconds into his sad backstory before Mann drowns him out with synth.
I get why people don't like it, but the sheer hatred being thrown its way, and all the "worst movie of 2015" talk, is a little strange. It's a rote thriller turned into art by a unique filmmaker. I'll probably see it again before it slips out of theaters (as in next week) to figure out where exactly it falls in the Mann canon.
Visually it's his roughest and dirtiest movie. There's a fight scene in which every punch is lost in a blur of motion. Foot chases appear to happen in the middle of an earthquake. But it contains a rough-and-tumble beauty as well. There are disorienting moments where a hallway looks like a computer's innards, and multiple real-world sequences recall the 3D tour inside the virtual world that opens the movie.
The plot is silly, threadbare, and predictable. But we're in Mann's post-plot phase, and no fan of the guy watches his movies for plot anyway. Blackhat is all about mood and atmosphere. Even character doesn't matter; Hathaway gets about ten seconds into his sad backstory before Mann drowns him out with synth.
I get why people don't like it, but the sheer hatred being thrown its way, and all the "worst movie of 2015" talk, is a little strange. It's a rote thriller turned into art by a unique filmmaker. I'll probably see it again before it slips out of theaters (as in next week) to figure out where exactly it falls in the Mann canon.
MidnightCowboy
Member
I don't necessarily agree with all of this, but if you think it felt amateurish, I really recommend watching Song of the Sea when it comes out. Same director, but I thought it was much better.
Do it. I saw Duke of Burgundy at the preview earlier this month at Filmlinc. It's truly an amazing film, and surprisingly hilarious. I'm also going to try and see Mommy tonight...love me some Dolan
Net_Wrecker
Member
This reads like an exaggeration, but it's funny because it's true. I almost laughed when Hemsworth was about to get into a typical backstory monologue and the movie's just like "Naaaaah, fade that out, here's some more synths, look at all this blue lighting, look at these human bodies making contact, let's move on."
megamerican
Member
Kill the Messenger This movie came and went pretty fast, seemed like no one really cared about it. Based on the real life story of journalist Gary Webb who accused the CIA of being complicit in the transport of cocaine across the border. My only gripe with the film is that it made the story too simplistic. In the movie Gary Webb is a straight up hero and we're given no reason to doubt his accounting of events, but most other sources have found his stuff problematic at best. It would have been much more interesting to play with that dynamic and leave the viewer unsure. 7 out of 10
MidnightCowboy
Member
The Friends of Eddie Coyle is such a satisfying crime movie. It's the second time I've seen it. It has great dialogue, some really tense moments, that beautiful grimy 70s look, and of course Robert Mitchum. He was the fucking man. Anyway, I was looking at Peter Yates' wikipedia page, he's directed a decent amount of movies. For those familiar with his work, any standouts that I should check out?
ViewtifulJC
Banned
Love that movie, can't wait for the CC blu-ray later this year.
On Yates, you seen Breaking Away? Its got a familiar concept of underdogs racing vs the upper classmen, but like Eddie Coyle, its got such great crisp dialog, naturalistic acting, and a big attention to characterization that the journey is fun to go along to its preordained destination.
And the races themselves are great, too; the guy DID direct Bullitt, after all.
Charles Foster Kane
Rosebud
American Sniper. Trite, shallow, unevenly paced, unfocused, and full of forced tension. The movie was too preoccupied appealing to the crowd that likes sweet kills to tell anything interesting or that hasn't been explored better in other movies. A lot of time was wasted on unimportant and uninteresting stuff, and far too little in what might have been.
It didn't help that everything was black and white and it even had a silly final boss. 4/10
It didn't help that everything was black and white and it even had a silly final boss. 4/10
hot rocks is like a silly version of all that over serious 70's crime films. mother jugs and speed is pretty funny, though it might be hard to watch cosby these days.
keep and krull are midnight flicks, i don't care for either, but they are worth watching. the keep has a good soundtrack from tangerine dream.
Speaking of Tangerine Dream, I just posted a thread about Edgar Froese's passing.
Net_Wrecker
Member
Holy shit lmao. He's drinking scotch too.
Oh yeah, that looks great. Can't wait to see it.
Whiplash is showing nearby! Going to definitely see it. My Reading Cinema has been a lot better than anything else within 20 minutes lately.
Frustrated_Grunt
Member
I liked how Drive just kicked in to 11 out of nowhere. Wonderfully shot movie with great pacing.
Frank was mildly amusing and had a nice message about how art sometimes doesn't need an audience. It seemed content to hit every branch on the way down from the top of the quirky indie dramedy tree to get there, which gets tiring after the eighth or ninth trope being trotted out, but the actors all did a great job injecting a lot of humanity into their roles, and having them perform their music live helped give it an authentic air that wouldn't have existed otherwise.
Bullitt! I think it's Steve McQueen's best movie.
The Hot Rock is solid, breezy fun too.
Secret Fawful
Member
Paddington - Wow, did the people marketing this movie ever send it to die. This is really fun. I'd even go as far as to call it great. The only real complaints I could think of with it were that it had a somewhat typical villain, the CGI wasn't always the best, and it did have a joke that was a bit too gross for me. I do also think it went a bit overboard on the soundtrack at times, but this is from the director of the Mighty Boosh, so I guess that's to be expected. Whenever it did use well-known music, it felt like it was making fun of itself by doing so, and other family films, but I might be wrong on that.
I noticed similarities to Spielberg's The Adventures of Tintin, Scorsese's Hugo, and Anderson's The Grand Budapest Hotel and The Life Aquatic With Steve Zissou. The camerawork is bold and inventive, and the technical filmmaking at work is actually kind of impressive for this kind of movie. Along with the clever writing that wasn't about Marvel quips or dumb puns, and the maturity to some aspects of the story (it is missing in others), the material really seemed to be held up above any of its competition. Some of the humor will go over the heads of American audiences, namely the immigration angle. The slapstick in the movie reminded me of Bean a bit, with some clever concepts that brought me back to an older style of film slapstick.
One of my favorite aspects of the film is the way information is related to the audience, whether it be what characters are feeling, the state of the relationships, scene transitions, comedic timing and gag setups, smart editing, showing street addresses, etc. I found myself consistently wowed by the fresh and bold storytelling techniques at work. The only thing that felt like it was repeating itself was the director's love of flat overheard shots, but I appreciated the style to it. If you've followed people like Wes Anderson or Edgar Wright, you might feel like there's no technique here you haven't seen before, but I appreciated the class (outside of the one really gross joke), the inventiveness, the style, and the effort just to be genuinely smart filmmaking.
Saw this over American Sniper and I don't regret that decision a bit. Others may disagree. I'm sure the villain aspect or some of the music choices or the use of CGI at all will turn some off, but don't let the trailers do so. The trailers are pure ass and should be treated as trailers for an entirely different film. I watched them when I got home from the theater, and I was appalled at how much they butcher the film. Fuck those trailers. Peter Capaldi was a standout in the film, and it was really nice to see Jim Broadbent and Alice Lowe show up as well. It might be best to go in tempering expectations, though. I'm not sure on that. I did, and I ended up really enjoying the film. It just consistently surprised me.
I noticed similarities to Spielberg's The Adventures of Tintin, Scorsese's Hugo, and Anderson's The Grand Budapest Hotel and The Life Aquatic With Steve Zissou. The camerawork is bold and inventive, and the technical filmmaking at work is actually kind of impressive for this kind of movie. Along with the clever writing that wasn't about Marvel quips or dumb puns, and the maturity to some aspects of the story (it is missing in others), the material really seemed to be held up above any of its competition. Some of the humor will go over the heads of American audiences, namely the immigration angle. The slapstick in the movie reminded me of Bean a bit, with some clever concepts that brought me back to an older style of film slapstick.
One of my favorite aspects of the film is the way information is related to the audience, whether it be what characters are feeling, the state of the relationships, scene transitions, comedic timing and gag setups, smart editing, showing street addresses, etc. I found myself consistently wowed by the fresh and bold storytelling techniques at work. The only thing that felt like it was repeating itself was the director's love of flat overheard shots, but I appreciated the style to it. If you've followed people like Wes Anderson or Edgar Wright, you might feel like there's no technique here you haven't seen before, but I appreciated the class (outside of the one really gross joke), the inventiveness, the style, and the effort just to be genuinely smart filmmaking.
Saw this over American Sniper and I don't regret that decision a bit. Others may disagree. I'm sure the villain aspect or some of the music choices or the use of CGI at all will turn some off, but don't let the trailers do so. The trailers are pure ass and should be treated as trailers for an entirely different film. I watched them when I got home from the theater, and I was appalled at how much they butcher the film. Fuck those trailers. Peter Capaldi was a standout in the film, and it was really nice to see Jim Broadbent and Alice Lowe show up as well. It might be best to go in tempering expectations, though. I'm not sure on that. I did, and I ended up really enjoying the film. It just consistently surprised me.
SCULLIBUNDO
Banned
But it was so grounded and realistic. Like that scene where the marines' position is being swarmed by swathes of those dialogue-less villains and one of the American golden boys - obviously in a state of understandable fear and panic, shouts 'YEAH, COME GET SOME!'
Seems legit.
Ventilaator
Banned
Drunken Master 1&2
Two people are fighting, and the camera is just pointing at them, without being the most physically active thing in the scene. Almost like the point of the camera is to show you what's happening or something. Madness.
I've only seen the Rush Hour movies before Drunken Master, so now I've got a ton of Jackie Chan movies to see.
Two people are fighting, and the camera is just pointing at them, without being the most physically active thing in the scene. Almost like the point of the camera is to show you what's happening or something. Madness.
I've only seen the Rush Hour movies before Drunken Master, so now I've got a ton of Jackie Chan movies to see.
Go with Armour of God 1 & 2, then do Police Story 1 through 4(which is called first strike).
Then Wheel on Meals, Mr. Nice Guy, Rumble in the Bronx, Dragons Forever and Crime Story.
After that Project A 1 & 2, and Who am I.
Close it with City Hunter and Robin B Hood.
Birdman
I don't think a movie's cinematography ever affected me like this before. I'm not usually one to pay discrete attention to its impact on a film. Not to say I can't appreciate a finely shot movie - I truly do. But here on Inarritu's stage I was transfixed. It was sort of like being on a Disney ride. These methodical tracking shot(s) that take you here and there and around. Following people saying things! It was a character itself, just inquisitive enough to give you the relevant facts before it whisks you curtly to the next scene; also while taking the scenic route and stopping for a hot dog or two.
I already used the Disney ride metaphor but it also felt like being guided around in the store by a mom. I guess a nice mom because I liked the film I saw.
Dear White People
"They felt like real people" is the best thing I can say about this film. Like, people I would run into (and have ran into) on campus. So in that respect, full marks.
Tessa Thompson is stunning, in both her beauty and how unnecessary it felt to make this movie pivot around her character. She's supposed to be a woman with so much to say, but she actually says very little. Most of her character is delivered outside of what we actually see on screen, which was not an effective method to employ given that she's the heart of the movie. Plot doesn't so much as flow through her as it congeals in the holes of the strainer and drip goofily from the other side.
I don't think a movie's cinematography ever affected me like this before. I'm not usually one to pay discrete attention to its impact on a film. Not to say I can't appreciate a finely shot movie - I truly do. But here on Inarritu's stage I was transfixed. It was sort of like being on a Disney ride. These methodical tracking shot(s) that take you here and there and around. Following people saying things! It was a character itself, just inquisitive enough to give you the relevant facts before it whisks you curtly to the next scene; also while taking the scenic route and stopping for a hot dog or two.
I already used the Disney ride metaphor but it also felt like being guided around in the store by a mom. I guess a nice mom because I liked the film I saw.
Dear White People
"They felt like real people" is the best thing I can say about this film. Like, people I would run into (and have ran into) on campus. So in that respect, full marks.
Tessa Thompson is stunning, in both her beauty and how unnecessary it felt to make this movie pivot around her character. She's supposed to be a woman with so much to say, but she actually says very little. Most of her character is delivered outside of what we actually see on screen, which was not an effective method to employ given that she's the heart of the movie. Plot doesn't so much as flow through her as it congeals in the holes of the strainer and drip goofily from the other side.
darkwing-buck
Member
Ed Wood is amazing and Burton's best IMO
AlternativeUlster
Absolutely pathetic part deux
I literally just learned Frank was a real person a few days ago.
AlternativeUlster
Absolutely pathetic part deux
No Drunken Master 2 on there? Also I've been slowly going through rewatches of Chan's films the past few years and I think Project A is greatly underrated. It has this distinct charm of the brawling choreography that's like an orchestrated sloppiness which is insanely fun.
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