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Movies you have seen recently?
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Nappuccino
Member
StuBurns said:
...you saw Indy 4?
ChubbyHuggs
Member
GurgleBot20 said:
You should really check out Shadow of the Vampire:
http://en.wikipedia.org/wiki/Shadow_of_the_Vampire
I'm not going to watch all of a movie I'm hating. I don't think that's unusual.
As for the topic at hand, Gattaca.
I just saw it, never even heard of it till today, and I enjoyed it quite a bit. I didn't see the twist coming, and ever better, I didn't suspect a twist at all.
As for the topic at hand, Gattaca.
I just saw it, never even heard of it till today, and I enjoyed it quite a bit. I didn't see the twist coming, and ever better, I didn't suspect a twist at all.
Yeah Gattaca is one of the most interesting films I've seen. The story is very forward thinking, and made me sit down and just enjoy the film rather than predict what is going to happen next (like in every other drama or science fiction film)
I just finished up watching Monsters. Like many reviewers said, it's very slow, but it's a good pace. The films definitely sets that pace up very early with the "quiet" action scene followed by the quiet hospital meetup. Just thinking about the film now makes me think of quiet. There weren't really any big moments, but there really didn't need to be any. It was a slow and quiet film but I actually enjoyed it.
I just finished up watching Monsters. Like many reviewers said, it's very slow, but it's a good pace. The films definitely sets that pace up very early with the "quiet" action scene followed by the quiet hospital meetup. Just thinking about the film now makes me think of quiet. There weren't really any big moments, but there really didn't need to be any. It was a slow and quiet film but I actually enjoyed it.
The Culture Vulture
Member
Moon was one of my favorite films I watched this year. I can understand people with short attention spans having trouble with the pacing but I thought the whole movie was brilliant.
Nappuccino
Member
I actually found moon to be fairly fast paced. I wanted some of those shots to linger more.
Trent Strong
Banned
I just didn't like Moon's ridiculous story.
I finally saw Sam Raimi's Darkman. Bonkers! Also, why did nobody tell me it harbors one of the most memorable lines of dialogue ever? Take the fucking elephant! :lol. Ah, good times. and McDormand's face during the 'fight' that precedes it - priceless.
roosters93
Member
Moon was one of the best films of '09. Clint Mansell <3
At least Gattaca is getting some love on this page. <3
It's Sci-Fi. What's so ridiculous about it compared to other sci-fi?
At least Gattaca is getting some love on this page. <3
Trent Strong said:
It's Sci-Fi. What's so ridiculous about it compared to other sci-fi?
Trent Strong
Banned
roosters93 said:
Yeah, you're right, most sci-fi is ridiculous. I don't know why Moon bothered me, but something like Star Trek TNG doesn't. I'd explain why I thought it was so ridiculous, but I can't remember how to spoiler tag. :lol Gattaca seems a lot more realistic, as an example.
Net_Wrecker
Member
ty_hot said:
Why haven't I heard of these? Top of my watch list right now.
Cosmic Bus
pristine morning snow
I haven't kept up with this at all, but these are what I can recall from the past few months:
The 4 Horsemen of the Apocalypse ** // A bloated, miscast Hollywood retelling of a war-time family drama. There's little suspense or believability thanks to the script and flat acting, but at least the sets and costumes are [inapproptiately] lavish.
9 to 5 **** // An exceptionally fun, endearing comedy to watch, filled with fiery wit, revenge fantasy and fulfillment, empowerment, and plenty of outlandishly satisfying plot turns. I. love. Dolly. Parton.
Amer ***½ // Giallo completely and utterly deconstructed and distilled into its purest, most base forms. Broken into three distinct segments of a woman's terrified life with virtually no dialog or plot, the bookends remain taut and fascinating, while the middle portion drags.
Barbarella *** // Extremely silly and very European, Barbarella at least never promises to be anything but fluffy, pervy sci-fi. The "sex" scene with, uh, Dildano is a riot.
Beetlejuice ** // I had forgotten how terrible this really is. Burton's style feels so tired and ugly, and even in his second film he's already recycling visual gags. The plot - what little there is - barely goes anywhere for the bulk of its running time, and suddenly it's over. There's also a surprising amount of profanity for a PG-rating, too.
Big Eden **** // One of the best gay-themed movies I've come across. Wonderfully sincere and refreshingly eager to break away from stereotypes, I can't recommend this highly enough for the queers looking for something beyond all the superficial nonsense we're fed.
Corridor of Mirrors **** // I can't remember where I'd heard about this one initially, but I'm very glad to have gone out of my way to see it. Essentially a story of obsessions and fears, the entire picture floats along like a dream, with gauzy, shimmering visuals pouring into almost every frame.
Gypsy *** // I'm not generally big on musicals, but the spectacle of these classic Hollywood productions is definitely alluring. This one didn't thrill me, but I enjoyed a few of the numbers and the mother is a great character despite her aggravating stubbornness, not to mention being outshone by Natalie Wood in nearly every scene they shared.
Highway 301 ***½ // Looked this one up after finding it was the source of one of my favorite pieces of noir art. Low on suspense but high - really high - on violence, this is a fairly straightforward cops-and-robbers crime spree that puts the focus on the gang's crazed leader who takes great pleasure in gunning down anyone and everyone who crosses his path before his inevitable end. Good stuff.
House of Bamboo ***½ // Typically solid effort from Fuller, with some of the best camerawork and staging of his career. I wasn't always sold on the plot (it's a bit clumsy at times and rife with dated cultural elements) but I always get a kick out of Fuller's rough males and subversive motivation. And for the first time in years, I felt like watching Unsolved Mysteries...
I Could Go On Singing ****½ // Excellent piece about a famous singer trying to decide between her career and a life with her son and his father, an old flame of hers. The story and acting are plenty strong enough on their own, with the added treat of Garland performing several fantastic numbers throughout. I've watched this a couple more times since my initial turn and it's only gotten better.
Kings Row // I honestly don't remember how this one struck me, only that it had an awfully wild assortment of plot devices: muder, suicide, amputations, insanity, euthanasia, and veiled incestuous undertones. This is highly pessimistic melodrama.
Mermaids *** // One of those fairly stock coming-of-age dramedies where the times tumultuous, the mother is kind of crazy, the little kid is quirky and/or maladjusted, and the teenaged focus is horny and worrisome. I like Cher, I like Bob Hoskins. Christina Ricci has always had an enormous head.
Rocky Horror Picture Show ***½ // First time seeing this in full; had only been able to watch about half an hour of it last year, and this time around I ended up watching it twice in a couple of days. Not really much needs to be said... The songs are great fun and stick in your head, Tim Curry is pretty amazing. The last chunk seemed to drag the first time through, but I was digging it quite a bit more the second time.
Romy & Michele's High School Reunion ** // This was pretty disappointing because, for some reason, I went in expecting a kind of modern cult classic. I usually enjoy Lisa Kudrow, although she's basically playing a dumber version of Phoebe. Mira Sorvino is flat-out terrible, the script is mostly unfunny and tended to beat the same few jokes into the ground. I kind of liked Janeane Garolfola's character, for the small amount of time she's on screen.
The Social Network **½ // While there's not much wrong technically wrong with the film (even if it's extremely pedestrian by Fincher's standards), I simply am not a fan of Sorkin's dialog nor is the subject matter even remotely interesting. I spent two hours feeling iritated with every character and every situation.
Steel Magnolias ****½ // One of my new favorites. Love love love pretty much every aspect of it, especially this amazing group of actresses and how perfecly everyone plays off each other. I sobbed like a child for the entire last half an hour.
The Town *** // Competant but unspectacular. Affleck could certainly build a strong second career directing these kinds of 'everyman' thrillers, and he's got the sense to keep things from getting too fancy. The romance was pretty far-fetched, but maybe that was the fault of the source material...
Up the Sandbox ***½ // This was... very odd, but I dig it. Streisand plays a bored housewife who slips away into some seriously bizarre fantasies which the movie never lets on about until you're too far engrossed in figuring out what the holy hell is going on. Apparently, audiences back in the '70s didn't go for this, but I found it to be quite creative and compelling.
Violent Saturday *** // Southern noir that doesn't do anything particularly unique other than involving the Amish and giving us Lee Marvin as a rather sadistic addict. The script is solid and you can feel the tension build in the heat, but ultimately it plays out predictably.
The 4 Horsemen of the Apocalypse ** // A bloated, miscast Hollywood retelling of a war-time family drama. There's little suspense or believability thanks to the script and flat acting, but at least the sets and costumes are [inapproptiately] lavish.
9 to 5 **** // An exceptionally fun, endearing comedy to watch, filled with fiery wit, revenge fantasy and fulfillment, empowerment, and plenty of outlandishly satisfying plot turns. I. love. Dolly. Parton.
Amer ***½ // Giallo completely and utterly deconstructed and distilled into its purest, most base forms. Broken into three distinct segments of a woman's terrified life with virtually no dialog or plot, the bookends remain taut and fascinating, while the middle portion drags.
Barbarella *** // Extremely silly and very European, Barbarella at least never promises to be anything but fluffy, pervy sci-fi. The "sex" scene with, uh, Dildano is a riot.
Beetlejuice ** // I had forgotten how terrible this really is. Burton's style feels so tired and ugly, and even in his second film he's already recycling visual gags. The plot - what little there is - barely goes anywhere for the bulk of its running time, and suddenly it's over. There's also a surprising amount of profanity for a PG-rating, too.
Big Eden **** // One of the best gay-themed movies I've come across. Wonderfully sincere and refreshingly eager to break away from stereotypes, I can't recommend this highly enough for the queers looking for something beyond all the superficial nonsense we're fed.
Corridor of Mirrors **** // I can't remember where I'd heard about this one initially, but I'm very glad to have gone out of my way to see it. Essentially a story of obsessions and fears, the entire picture floats along like a dream, with gauzy, shimmering visuals pouring into almost every frame.
Gypsy *** // I'm not generally big on musicals, but the spectacle of these classic Hollywood productions is definitely alluring. This one didn't thrill me, but I enjoyed a few of the numbers and the mother is a great character despite her aggravating stubbornness, not to mention being outshone by Natalie Wood in nearly every scene they shared.
Highway 301 ***½ // Looked this one up after finding it was the source of one of my favorite pieces of noir art. Low on suspense but high - really high - on violence, this is a fairly straightforward cops-and-robbers crime spree that puts the focus on the gang's crazed leader who takes great pleasure in gunning down anyone and everyone who crosses his path before his inevitable end. Good stuff.
House of Bamboo ***½ // Typically solid effort from Fuller, with some of the best camerawork and staging of his career. I wasn't always sold on the plot (it's a bit clumsy at times and rife with dated cultural elements) but I always get a kick out of Fuller's rough males and subversive motivation. And for the first time in years, I felt like watching Unsolved Mysteries...
I Could Go On Singing ****½ // Excellent piece about a famous singer trying to decide between her career and a life with her son and his father, an old flame of hers. The story and acting are plenty strong enough on their own, with the added treat of Garland performing several fantastic numbers throughout. I've watched this a couple more times since my initial turn and it's only gotten better.
Kings Row // I honestly don't remember how this one struck me, only that it had an awfully wild assortment of plot devices: muder, suicide, amputations, insanity, euthanasia, and veiled incestuous undertones. This is highly pessimistic melodrama.
Mermaids *** // One of those fairly stock coming-of-age dramedies where the times tumultuous, the mother is kind of crazy, the little kid is quirky and/or maladjusted, and the teenaged focus is horny and worrisome. I like Cher, I like Bob Hoskins. Christina Ricci has always had an enormous head.
Rocky Horror Picture Show ***½ // First time seeing this in full; had only been able to watch about half an hour of it last year, and this time around I ended up watching it twice in a couple of days. Not really much needs to be said... The songs are great fun and stick in your head, Tim Curry is pretty amazing. The last chunk seemed to drag the first time through, but I was digging it quite a bit more the second time.
Romy & Michele's High School Reunion ** // This was pretty disappointing because, for some reason, I went in expecting a kind of modern cult classic. I usually enjoy Lisa Kudrow, although she's basically playing a dumber version of Phoebe. Mira Sorvino is flat-out terrible, the script is mostly unfunny and tended to beat the same few jokes into the ground. I kind of liked Janeane Garolfola's character, for the small amount of time she's on screen.
The Social Network **½ // While there's not much wrong technically wrong with the film (even if it's extremely pedestrian by Fincher's standards), I simply am not a fan of Sorkin's dialog nor is the subject matter even remotely interesting. I spent two hours feeling iritated with every character and every situation.
Steel Magnolias ****½ // One of my new favorites. Love love love pretty much every aspect of it, especially this amazing group of actresses and how perfecly everyone plays off each other. I sobbed like a child for the entire last half an hour.
The Town *** // Competant but unspectacular. Affleck could certainly build a strong second career directing these kinds of 'everyman' thrillers, and he's got the sense to keep things from getting too fancy. The romance was pretty far-fetched, but maybe that was the fault of the source material...
Up the Sandbox ***½ // This was... very odd, but I dig it. Streisand plays a bored housewife who slips away into some seriously bizarre fantasies which the movie never lets on about until you're too far engrossed in figuring out what the holy hell is going on. Apparently, audiences back in the '70s didn't go for this, but I found it to be quite creative and compelling.
Violent Saturday *** // Southern noir that doesn't do anything particularly unique other than involving the Amish and giving us Lee Marvin as a rather sadistic addict. The script is solid and you can feel the tension build in the heat, but ultimately it plays out predictably.
Somnium986
Member
Batman: Under the Red Hood: Fantastic. I never read the events in the comics, but from what I can tell they got everything right. Great art, animation, and some awesome fight scenes. For once I didn't mind Batman, and The Joker being voiced by different actors. They did an excellent job. The ending made me sad. 
The Fall: Paralyzed stuntman Roy, tells a epic tale of love, betrayal, and revenge to a mischievous girl.This movie has some great eye candy in it, and I like how Roy's tale intertwines with events in his life. The girl Alexandria, was great and smart enough to figure out what it was all about. Awesome movie.
The Fall: Paralyzed stuntman Roy, tells a epic tale of love, betrayal, and revenge to a mischievous girl.This movie has some great eye candy in it, and I like how Roy's tale intertwines with events in his life. The girl Alexandria, was great and smart enough to figure out what it was all about. Awesome movie.
afternoon delight
Member
How did you see this? Is it out of the festival circuit finally? I've heard great things and have been waiting awhile.
Nappuccino
Member
Trent Strong said:
spoiler tag= [spoiler*][/spoiler*] just without the asterisk.
sidenote:
I saw a clip from Disney's The Rescuers on TV: http://www.youtube.com/watch?v=VOq7OLGZl1I#t=08m25s
Do you see the resemblance to everybody's favourite videogame icon? Coincidence?
Here's a pic for reference:
I saw a clip from Disney's The Rescuers on TV: http://www.youtube.com/watch?v=VOq7OLGZl1I#t=08m25s
Do you see the resemblance to everybody's favourite videogame icon? Coincidence?
Here's a pic for reference:
Dr. Strangelove
I'M COOCOO FOR COCO CRISP!
Finally, someone I can agree with on this film.Cosmic Bus said:
Sweeney Todd (burton)
In The Mood For Love
Bridge on the River Kwai (new blu-ray)
The only one new to me was Sweeney. I had missed its theatrical for some reason...probably cause Wonka left a bad taste a few years earlier.
The new blu of Kwai is stunning. Worth a check-out. Here is to hoping Lawrence will get a similar treatment sooner rather than later.
Not much on tap for this weekend. I did check out Cosmos frim the library and am rewatching it. Beautiful man, Carl Sagan. This series never gets old and is as fresh as when I first saw it in the early eighties.
In The Mood For Love
Bridge on the River Kwai (new blu-ray)
The only one new to me was Sweeney. I had missed its theatrical for some reason...probably cause Wonka left a bad taste a few years earlier.
The new blu of Kwai is stunning. Worth a check-out. Here is to hoping Lawrence will get a similar treatment sooner rather than later.
Not much on tap for this weekend. I did check out Cosmos frim the library and am rewatching it. Beautiful man, Carl Sagan. This series never gets old and is as fresh as when I first saw it in the early eighties.
It wasn't just that it was based on an implausible premise (roosters93 said:
why would the company keep a degenerating clone around and risk catastrophe, when they can insta-grow a new one?
Everybody just decides to Do The Right Thing in the end, even the formerly pathologically lying AI.
Dark Victory (1939) - I guess not many in my class liked the movie after having our discussion on it, but I didn't mind it that much. It's pretty thin on plot and the way the characters form a family where the doctor and his lover are "father and daughter" is weird.
I liked (one of) it's message about death and the ending however.
edit: I guess I should explain the movie since not many would have seen this. :lol
This is a just a very quick summary.
I liked (one of) it's message about death and the ending however.
edit: I guess I should explain the movie since not many would have seen this. :lol
Basically this independent woman (socially and economically) has some condition in her brain causing her to lose her site. The brain doctor somehow gets all the pain to stop and she functions normally, but she is still going to die in a few months. Doctor doesn't tell her, they fall in love. Patient finds out, gets pissed, then accepts death and marries the doctor/moves with him to a rural area in Vermont, away from all the glamor she was used to. Then the moment comes where she starts losing her vision again and is about to die, the Doctor leaves for some meeting for his research and she doesn't tell him she's dying. So he leaves unknowing and the last scene is her crawling in bed and staring into the camera as it fades out.
This is a just a very quick summary.
British Monsoon
Member
L'Année Dernière à Marienbad (1961) by Alain Resnais
I think half the fun of Alain Resnais 'Last year in Marienbad' is trying to decide what the hell the whole thing was about afterwards. It ostensibly tells the tale of a man who is convinced that a woman staying at the same hotel as him is his lover from a year past, yet she does not recall ever meeting him. The film is wonderfully shot, employing an ethereal, dream-like quality throughout, while the inhabitants of the hotel at Marienbad drift by, almost as if in a trance. The viewer enters and leaves the film knowing only that a man believes he had an affair with a woman, and that she denies it. Nothing more. Filled with sparse and ambivalent dialogue that confounds the characters and viewers in equal measure, L'Année Dernière à Marienbad is a beautiful and entirely ambiguous film. Intentionally bizarre, expertly shot, brilliantly edited, wonderfully arty, oh-so-very French and perfect on every cinematic level. Not for everyone, for sure, but undoubtedly and undeniably a classic.
I think half the fun of Alain Resnais 'Last year in Marienbad' is trying to decide what the hell the whole thing was about afterwards. It ostensibly tells the tale of a man who is convinced that a woman staying at the same hotel as him is his lover from a year past, yet she does not recall ever meeting him. The film is wonderfully shot, employing an ethereal, dream-like quality throughout, while the inhabitants of the hotel at Marienbad drift by, almost as if in a trance. The viewer enters and leaves the film knowing only that a man believes he had an affair with a woman, and that she denies it. Nothing more. Filled with sparse and ambivalent dialogue that confounds the characters and viewers in equal measure, L'Année Dernière à Marienbad is a beautiful and entirely ambiguous film. Intentionally bizarre, expertly shot, brilliantly edited, wonderfully arty, oh-so-very French and perfect on every cinematic level. Not for everyone, for sure, but undoubtedly and undeniably a classic.
If you haven't, see the Frank Langella version.GurgleBot20 said:
http://www.imdb.com/title/tt0079073/
Trent Strong
Banned
Nappuccino said:
Oh, right. Thanks.
Jason's Ultimatum
Member
robor said:
Wise choice, my friend.
The Thirteenth Floor - The Thirteenth Bore
This is film is fucking awful, I checked it out because Nolan cited it as an influence on Inception, everything about it is dreadful, most notably Craig Bierko the leading man, who is almost impossibly bad. I think one of the worst films, and surprisingly so is Sour Grapes, which also featured this horrific actor. I can't believe he gets work.
This is film is fucking awful, I checked it out because Nolan cited it as an influence on Inception, everything about it is dreadful, most notably Craig Bierko the leading man, who is almost impossibly bad. I think one of the worst films, and surprisingly so is Sour Grapes, which also featured this horrific actor. I can't believe he gets work.
AlternativeUlster
Absolutely pathetic part deux
Dr. Strangelove said:
Add me to your list too. There was something empty about the Social Network where events happened but it didn't feel like developments. I can't explain it more than that but it felt off.
brianjones
Member
michaelsrevenge said:
agreed the cult fanbase surrounding the film seems silly to me.
What I think is interesting about The Social Network is that it doesn't appear to matter under what circumstances Aaron Sorkin is writing, the quality and style is always pretty much the same. A year on a screen adaptation of a novel, or years on A Few Good Men, it's not any better than a week on The West Wing or a fortnight on Studio 60.
Kilgore Trout
Member
I saw Scott Pilgrim recently. I didn't care much for the comic and thought this would surely be better with Edgar Wright involved, but actually I thought it was worse. The fight scenes were boring and Michael Cera got on my nerves. It was only ok which surprised me because I expected more.
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