Top 5:
1) Mortal Kombat.
2) Event Horizon.
3) Three Musketeers.
4) Pandorum.
5) Resident Evil 1.
EDIT: Scratch that, Pandorum wasn't directed by him, it's kind of a worse version of Eden Log, but still fun.
Movies You've Seen Recently |OT| April 2017
- Thread starter Divius
- Start date
- Status
1) Mortal Kombat.
2) Event Horizon.
3) Three Musketeers.
4) Pandorum.
5) Resident Evil 1.
EDIT: Scratch that, Pandorum wasn't directed by him, it's kind of a worse version of Eden Log, but still fun.
AngmarsKing701
Member
Event Horizon for me too, though I have a soft spot (read: guilty pleasure center) for the RE movies.
I haven't seen this Three Musketeers version. Or at least I don't think I have. I just watched the trailer and I'm pretty sure I skipped this.
Must rectify.
God, those facial closeups were just amazing. Can't think of any other film that zooms in that close.
Fancy Clown
Member
Rewatched The World's End last night. As expected it was doper the second time around: While not quite as stacked with as many "blink and you'll miss it" onion layers of jokes as the other Wright movies--which of course still puts it well above most comedy flavored improvs--it makes up for it by being a surprisingly effective character piece about someone who can't let go of the past backed by Simon Pegg's best performance. That's not to say there aren't jokes though, and as always I caught a lot more th second time around (a favorite being the "lintel" bit), and the incredible Jackie Chan inspired fight scenes are packed with whip fast sight gags. What holds this one slightly back from Wright's other films is that the genre aspect of this one felt a little uninspired, and I felt he could have done a lot more to build tension with it and make it more visually exciting. Play more with the paranoia of Body Snatchers and The Thing and a bit less "zombies whose mouths glow blue". The slightly sketchy sci-fi premise also necessitates more exposition than it's worth, a couple leaps in logic as well. That being said, this is still absolutely a worthy entry in the Cornetto series, unlike what others may have you believe, and my appreciation for it continues to grow as I'm guessing it will the next time I rewatch it.
Zatoichi Challenged: Misumi returns with a familiar bag of tricks by pairing Zatoichi with a young child. And while he successfully mines it for comedic and dramatic potential, it isn't nearly as successful as his excellent Fight, Zatoichi, Fight. The best moments are when Ichi has the kid draw a beautiful woman for him in the sand so he can "see" what she looks like (a scene that is by turn touching and then hilarious), and one of the series best one on one duels at the end. It's not as good as his other entries in the series, but it's still an above average entry in the series thanks to his ability to capture the empathetic nature of Zatoichi like no other.
Leone has a knack for casting people with the most unique faces ever, and makes the absolute best use of them. He shoots close ups like landscape shots.
Zatoichi Challenged: Misumi returns with a familiar bag of tricks by pairing Zatoichi with a young child. And while he successfully mines it for comedic and dramatic potential, it isn't nearly as successful as his excellent Fight, Zatoichi, Fight. The best moments are when Ichi has the kid draw a beautiful woman for him in the sand so he can "see" what she looks like (a scene that is by turn touching and then hilarious), and one of the series best one on one duels at the end. It's not as good as his other entries in the series, but it's still an above average entry in the series thanks to his ability to capture the empathetic nature of Zatoichi like no other.
Leone has a knack for casting people with the most unique faces ever, and makes the absolute best use of them. He shoots close ups like landscape shots.
Death Metalist
Member
That's like Leone's signature. My favorite one is this though from Once Upon A Time In America.
I tear up everytime.
Anyone seen Advantageous (2015)? It's a sci-fi drama that premiered at Sundance, so don't go in expecting an effects flick. There are a few instances of distractedly bad CGI, but overall I really liked this movie.
It portrays a prescient but bleak future, but the majority of the movie focuses on the relationship between a mother and her daughter, which is just amazingly portrayed. The daughter is an especially great actor (she's supposed to be 13) and feels extremely authentic.
The movie also raises some interesting questions about the nature of humanity, consciousness, and how your physical body vs memories affect these things.
It has a female writer/director, which kind of gave it a different feel that I found refreshing.
On Netflix instant in the US.
It portrays a prescient but bleak future, but the majority of the movie focuses on the relationship between a mother and her daughter, which is just amazingly portrayed. The daughter is an especially great actor (she's supposed to be 13) and feels extremely authentic.
The movie also raises some interesting questions about the nature of humanity, consciousness, and how your physical body vs memories affect these things.
It has a female writer/director, which kind of gave it a different feel that I found refreshing.
On Netflix instant in the US.
Freeza Under The Shower
Member
Okay, so actual movies then:
This Island Earth (1955) - this might be the single most token-plot-for-effects movie I've seen so far, since that literally describes the whole thing. However, it is nice to see an effort to create something of an alien conflict with serviceable effects. But I wouldn't honestly recommend seeing this, just skip to the effects bits at the end and call it a day. Or yell at it, maybe. Woof?
The Day the Earth Caught Fire (1961) - and then there is this busybody of a movie, where a yellowed start is the lead in for a black & white movie that is bristling with activity, has fun engagements between characters and a compelling arc to make the whole come together. Probably the best among all of these 1950's movies that I've watched, probably because this is a straight disaster movie and not a monster movie, and the disaster itself isn't really the story, as it should be. Highly recommended.
The Thing From Another World (1951) - back to the monster pit it is, with ATTACK OF THE GIANT BLOODDRINKING CARROT FROM OUTER SPACE!! (actual quote from John Carpenter). This is the first of many other alien monster movies of the time (that I'm now done with), but is on a much higher level than most of the others. Characters make sense, exposition serves a purpose, and the thing is a guy in a suit. The discovery stage stands out as being the most significant addition to cinema language though, and one shot where the thing stands in a doorway. The movie kind of loses itself at the end though, when it has to delay the climax a bit for running time, but what's really worth mentioning is that this movie has a lot of characters in it, yet you never lose track of those that matter or not. The body count, however, is somewhat embarrassingly low compared to Carpenter's far more aggressive -oh boy- adaptation of the short story "Who goes there". Worth watching for being a classic genre-starter, but the Carpenter edition is just on a even higher, different level compared to this one.
First Men In The Moon (1964) - the UN has brought men to the moon! (wait, the UN? Yeah) You brace yourself for another space monster movie, aaand....then it actually turns out to be an HG Wells story, partially played up a bit to keep things engaging. Featuring the same lead actor of The Day The Earth Caught Fire, the acting is fun and fits the story quite well. Even the stop-motion effects, usually a sore spot on a movie, have a fitting place here and serve their purpose. Interesting thing to note: this movie has sun mirrors to enhance incoming sunlight, something that is currently being played in the second season of The Expanse, except at a far, far, far greater distance from Earth than the moon is. You can tell the hand of Nigel Kneale on this one quite well, and it's quite an entertaining movie. Recommended to sci-fi fans, but perhaps not any random person.
The Day The Earth Stood Still (1951) - for another classic that essentially itself became the stock footage on any "are UFOs real????!??" show on the Discovery Channel (or: how can we pretend to be of interest when we ain't got shit), this is a surprisingly hollow movie since it's basically just mutual annihilation propaganda for the sake of promoting the then fledgling UN, even if unintentional. However, it does feature a fun performance of Klaatu, a future Evil Dead: Army of Darkness reference, the first Cylon, and said robot walking through a bunch of chairs. For those familiar with the classic ROTOR, this might suddenly trigger an 'oh shit this where that came from' moment. Ah, the delightful arrogance of thinking your movie is on the same level as a permanent classic, for all of humanity to laugh at. Now there's a movie that you really cannot remake without ruining it. Also this movie, which already got a remake that we promptly all forgot about, but that's because The Day The Earth Stood Still is a fine movie as is, and really can't be remade outside of the fears of its age. Btw, did you know there is remake of The Fog? And pretty much every Carpenter and Verhoeven movie? Did we all forget? Are we all Thor 2? Okay, got that one in, on to the next film.
Rewatch: VAAAAAAAAN HEEEELSING (2004). Or: Jackman's other wolfman that is about to throw down, make shit look easy, and take on every other Universal Monster Movie monster except the Mummy because Sommers already made that one. So what you get is schlock that really works hard to earn its keep. Every filmmaking trick in the book is used to get as much as was humanly possible at the time, and it's really the only fun remake of all those monster movies outside of Sommers's Mummy. Personally I never disliked The League Of Extraordinary Gentlemen either, but apparently the audiences were already tired of monster movies by that time. Or maybe the SW prequels drained everything dry. Or Snyder's Dawn Of The Dead remake that came out in the same year as Van Helsing and made everything zombies. I don't know. It did relatively poorly (300 on 165 budget) in its run, but it really deserved better. At least we can take solace in the knowledge that history will treat it kindly compared to the rest of them.
and finally, among first watches:
The Incredible Shrinking Man (1957) - lost & found: manliness, body, dignity. Not necessarily in that order. An effect bound movie after the setup first half, it's quite impressive for its time with the lead actor in different sizes and giant props and sets made for relatively few shots. Also clearly featuring the new camera technology of the zoom lens, as it used first in a now comical way to just show off the lens. It's used later for more appropriate dramatic effect. Furthermore, the ending may have lost a bit of impact with time, but still stands as great. Worth watching as a movie enthusiast, but I'm sure it would be somewhat wasted on younger, casual audiences.
See y'all on the next batch.
This Island Earth (1955) - this might be the single most token-plot-for-effects movie I've seen so far, since that literally describes the whole thing. However, it is nice to see an effort to create something of an alien conflict with serviceable effects. But I wouldn't honestly recommend seeing this, just skip to the effects bits at the end and call it a day. Or yell at it, maybe. Woof?
The Day the Earth Caught Fire (1961) - and then there is this busybody of a movie, where a yellowed start is the lead in for a black & white movie that is bristling with activity, has fun engagements between characters and a compelling arc to make the whole come together. Probably the best among all of these 1950's movies that I've watched, probably because this is a straight disaster movie and not a monster movie, and the disaster itself isn't really the story, as it should be. Highly recommended.
The Thing From Another World (1951) - back to the monster pit it is, with ATTACK OF THE GIANT BLOODDRINKING CARROT FROM OUTER SPACE!! (actual quote from John Carpenter). This is the first of many other alien monster movies of the time (that I'm now done with), but is on a much higher level than most of the others. Characters make sense, exposition serves a purpose, and the thing is a guy in a suit. The discovery stage stands out as being the most significant addition to cinema language though, and one shot where the thing stands in a doorway. The movie kind of loses itself at the end though, when it has to delay the climax a bit for running time, but what's really worth mentioning is that this movie has a lot of characters in it, yet you never lose track of those that matter or not. The body count, however, is somewhat embarrassingly low compared to Carpenter's far more aggressive -oh boy- adaptation of the short story "Who goes there". Worth watching for being a classic genre-starter, but the Carpenter edition is just on a even higher, different level compared to this one.
First Men In The Moon (1964) - the UN has brought men to the moon! (wait, the UN? Yeah) You brace yourself for another space monster movie, aaand....then it actually turns out to be an HG Wells story, partially played up a bit to keep things engaging. Featuring the same lead actor of The Day The Earth Caught Fire, the acting is fun and fits the story quite well. Even the stop-motion effects, usually a sore spot on a movie, have a fitting place here and serve their purpose. Interesting thing to note: this movie has sun mirrors to enhance incoming sunlight, something that is currently being played in the second season of The Expanse, except at a far, far, far greater distance from Earth than the moon is. You can tell the hand of Nigel Kneale on this one quite well, and it's quite an entertaining movie. Recommended to sci-fi fans, but perhaps not any random person.
The Day The Earth Stood Still (1951) - for another classic that essentially itself became the stock footage on any "are UFOs real????!??" show on the Discovery Channel (or: how can we pretend to be of interest when we ain't got shit), this is a surprisingly hollow movie since it's basically just mutual annihilation propaganda for the sake of promoting the then fledgling UN, even if unintentional. However, it does feature a fun performance of Klaatu, a future Evil Dead: Army of Darkness reference, the first Cylon, and said robot walking through a bunch of chairs. For those familiar with the classic ROTOR, this might suddenly trigger an 'oh shit this where that came from' moment. Ah, the delightful arrogance of thinking your movie is on the same level as a permanent classic, for all of humanity to laugh at. Now there's a movie that you really cannot remake without ruining it. Also this movie, which already got a remake that we promptly all forgot about, but that's because The Day The Earth Stood Still is a fine movie as is, and really can't be remade outside of the fears of its age. Btw, did you know there is remake of The Fog? And pretty much every Carpenter and Verhoeven movie? Did we all forget? Are we all Thor 2? Okay, got that one in, on to the next film.
Rewatch: VAAAAAAAAN HEEEELSING (2004). Or: Jackman's other wolfman that is about to throw down, make shit look easy, and take on every other Universal Monster Movie monster except the Mummy because Sommers already made that one. So what you get is schlock that really works hard to earn its keep. Every filmmaking trick in the book is used to get as much as was humanly possible at the time, and it's really the only fun remake of all those monster movies outside of Sommers's Mummy. Personally I never disliked The League Of Extraordinary Gentlemen either, but apparently the audiences were already tired of monster movies by that time. Or maybe the SW prequels drained everything dry. Or Snyder's Dawn Of The Dead remake that came out in the same year as Van Helsing and made everything zombies. I don't know. It did relatively poorly (300 on 165 budget) in its run, but it really deserved better. At least we can take solace in the knowledge that history will treat it kindly compared to the rest of them.
and finally, among first watches:
The Incredible Shrinking Man (1957) - lost & found: manliness, body, dignity. Not necessarily in that order. An effect bound movie after the setup first half, it's quite impressive for its time with the lead actor in different sizes and giant props and sets made for relatively few shots. Also clearly featuring the new camera technology of the zoom lens, as it used first in a now comical way to just show off the lens. It's used later for more appropriate dramatic effect. Furthermore, the ending may have lost a bit of impact with time, but still stands as great. Worth watching as a movie enthusiast, but I'm sure it would be somewhat wasted on younger, casual audiences.
See y'all on the next batch.
Garmonbozia
Member
Once Upon A Time in America is such a Masterpiece. I love it to death. The best word to describe it for me is "Operatic"
Rhomega Beta
Member
Anomalisa: I admire this movie for its stylistic choice, both in stop-motion as well as having almost everyone have the same face and voice (which threw me off at first). It's a creative way to look into Michael Stone's psyche. Worth seeing at least once, just not with family.
Rhomega Beta
Member
I want this movie to be good, but the Thor movies have been the weakest MCU movies IMO. I don't really have high hopes for this one.
Room: I think this is one of those movies you should go in blind on. All I can really say is that it's like Plato's Allegory of the Cave. Still a good movie with realistic behavior.
Room: I think this is one of those movies you should go in blind on. All I can really say is that it's like Plato's Allegory of the Cave. Still a good movie with realistic behavior.
AngmarsKing701
Member
Have to admit I'm excited about what Waititi can do in this universe, and that teaser has "we decided to inject GotG goodness all over this thing"
Discotheque
Banned
This shit was so good. I thought it was cool idea to make everyone else have the same voice too, a nice visual/auditory demonstration of how bored the main character is with everything around him.
This trend of getting filmmakers to try their hand at animation has been god-tier so far. Rango, Fantastic Mr. Fox and Anomalisa have all been great.
I didn't like GotG's humor at all (aside from a Bautista, he was pretty good), but i have faith in Waititi and his understanding of humor.
Then again, Super was also pretty decent, so you never know.
I hope he'll move on from Marvel and cape movies after this tho.
Why not both
Discotheque
Banned
hopefully. I want to see that Wolf spinoff they had floating around after What We do in the Shadows, and see what other comedy ideas he has too.
Shane Black used marvel pretty well as a springboard to get Nice Guys made and now Predator. I imagine this might be the same of Taika, he's gonna get budgets and casts if he wants now after this inevitably makes its 700+
Isn't the wolf spinoff already on production? I remember that being confirmed last year
Edit: it appears to be a tv spinoff instead
Discotheque
Banned
was announced a while ago but then nothing since. dude's probably been too busy with the thor movie.
Damn then count me in the group that rather see him do more original work.
I need the spinoff in my veins
Yeah, it's really awesome. Can't wait for Wes Anderson's next animated movie, as well as Edgar Wright's film with Dreamworks.
I just want an animated Malick movie and I'll be happy.
AngmarsKing701
Member
Movie or Overwatch... Movie or Overwatch...
Hmmm... how about a little Overwatch and then a movie!
Three Musketeers is under two hours! Boo-fucking-yah!
Edit - I am drinking Canadian whiskey and it is good. On a Monday.
Hmmm... how about a little Overwatch and then a movie!
Three Musketeers is under two hours! Boo-fucking-yah!
Edit - I am drinking Canadian whiskey and it is good. On a Monday.
Puck Beaverton
Banned
I'm afraid to watch Your Name.
What's there to be afraid of? US critics were raving about it since Friday.
Puck Beaverton
Banned
I don't want to get emotional in a theater.
Discotheque
Banned
yeah. the future of traditionally live action director-driven animated movies is so promising right now. and god damn imagine if Malick collaborated with the animation studio behind 5cm per Second and Your Name...whew
nice. it's a fun campy adventure movie man, enjoy.
Net_Wrecker
Member
A man who never cries in a theater is never a whole man.
Puck Beaverton
Banned
Terrence Malick Anime.
Lets go.
Lets go.
IceDoesntHelp
Banned
Lilo & Stitch ★★★★★
Watched Apr 10, 2017
I could watch this a million times over and I wouldn't ever get sick of it.
Its one of the only films that can get me out of a depressing mood.
Not the best at reviewing in general, but I try I guess.
Letterboxd
Watched Apr 10, 2017
I could watch this a million times over and I wouldn't ever get sick of it.
Its one of the only films that can get me out of a depressing mood.
Not the best at reviewing in general, but I try I guess.
Letterboxd
Hard not to when every thing I read is "OMG THIS IS THE NEXT MIYAZAKI ANIME IS SAVED!!!!!!" Nothing makes me want to dislike a film more than stuff like this.
where are you seeing this?
Garmonbozia
Member
Dolls (2002): Really pretty film. Kitano knows how to do great moments of silence, something that I already could see in Hana-Bi (and its story is just as depressing).
Gremlins Almost pulled a twofer of Joe Dante with this and the Howling but got lazy. This wasn't really foundational for me as a kid where something like the Goonies resonated a lot more which you'd think little killer monsters would be right up my alley with all the horror I watch but maybe this was a bit too kid friendly in that department. I did enjoy running through it again though and those practical effects are damn good.
Cripplegate
Member
Why do you drift, GAF? Do you drift for money? Do you drift for respect? Do you drift for FAMILY???
The Fast and the Furious: Tokyo Drift (8/10) - Haha holy shit one of the kids from Home Improvement is in this. Anyways, fuck, what a movie. This thing manages to be the perfect crystallization of everything the first two movies only half-heartedly gestured towards. It has the focus on underground racing mixed with street crime, but this time (unlike the first sequel), applies a fresh coat of paint. The stylistic focus on car drifting could be easily reduced to a gimmick, nothing more than a way to differentiate itself in its action scenes, but hilariously, this movie builds an entire universe around drifting as an ethos. It takes the whack philosophy of the first film (random samples include "life is simple, you make a choice and you don't look back") and cranks it up to eleven, combing a coming of age story with a fish out of water story where people drift to prove themselves, drift to discover themselves, drift to know who their friends are, drift to find their place in the world, and at various points, even drift to find love ("why do I never c u drift?" / "because you never ask!
" LAWWWWL). Han is clearly the MVP here, the Yoda to Sean's young padawan, teaching him the ways of the Drift, so he can defeat the evil Darth Drift King (also, a cameo by Sonny motherfucking Chiba as the Emperor of this analogy, I said goddamn). We drift to restore balance. We drift so that the universe may know itself. This might be the dumbest fucking movie I've ever seen, but it nails the balance of silliness and sincerity that the original film only truly achieves in its final moments, sustains that throughout, and does it with absolute gusto. The final point to point downhill race is easily the highlight of the entire franchise up to that point. I was on the edge of my seat, sweating like a motherfucker. The film's callbacks are even used smartly, employed in the arc of Sean's character, as he learns to drift as a way of learning how best to live (he begins the movie by racing for pink slips, he ends the movie - and what a fucking ending, I did NOT see that coming - by racing for FAMILY). This movie doesn't just feel like it fell out of a totally different franchise, it feels like it was supernaturally channeled into our world from the Drift Dimension itself. And just like Moses, Justin Lin has brought the drift commandments down from the movie franchise mountain to show us all how to live our lives and be better people.
This movie gave me life, GAF. I laughed and screamed and cried and laughed some more.
Let's drift.
The Fast and the Furious: Tokyo Drift (8/10) - Haha holy shit one of the kids from Home Improvement is in this. Anyways, fuck, what a movie. This thing manages to be the perfect crystallization of everything the first two movies only half-heartedly gestured towards. It has the focus on underground racing mixed with street crime, but this time (unlike the first sequel), applies a fresh coat of paint. The stylistic focus on car drifting could be easily reduced to a gimmick, nothing more than a way to differentiate itself in its action scenes, but hilariously, this movie builds an entire universe around drifting as an ethos. It takes the whack philosophy of the first film (random samples include "life is simple, you make a choice and you don't look back") and cranks it up to eleven, combing a coming of age story with a fish out of water story where people drift to prove themselves, drift to discover themselves, drift to know who their friends are, drift to find their place in the world, and at various points, even drift to find love ("why do I never c u drift?" / "because you never ask!
" LAWWWWL). Han is clearly the MVP here, the Yoda to Sean's young padawan, teaching him the ways of the Drift, so he can defeat the evil Darth Drift King (also, a cameo by Sonny motherfucking Chiba as the Emperor of this analogy, I said goddamn). We drift to restore balance. We drift so that the universe may know itself. This might be the dumbest fucking movie I've ever seen, but it nails the balance of silliness and sincerity that the original film only truly achieves in its final moments, sustains that throughout, and does it with absolute gusto. The final point to point downhill race is easily the highlight of the entire franchise up to that point. I was on the edge of my seat, sweating like a motherfucker. The film's callbacks are even used smartly, employed in the arc of Sean's character, as he learns to drift as a way of learning how best to live (he begins the movie by racing for pink slips, he ends the movie - and what a fucking ending, I did NOT see that coming - by racing for FAMILY). This movie doesn't just feel like it fell out of a totally different franchise, it feels like it was supernaturally channeled into our world from the Drift Dimension itself. And just like Moses, Justin Lin has brought the drift commandments down from the movie franchise mountain to show us all how to live our lives and be better people.This movie gave me life, GAF. I laughed and screamed and cried and laughed some more.
Let's drift.
If I could buy you a beer for writing such a great review I would. Welcome to the club.Why do you drift, GAF? Do you drift for money? Do you drift for respect? Do you drift for FAMILY???
The Fast and the Furious: Tokyo Drift (8/10) - Haha holy shit one of the kids from Home Improvement is in this. Anyways, fuck, what a movie. This thing manages to be the perfect crystallization of everything the first two movies only half-heartedly gestured towards. It has the focus on underground racing mixed with street crime, but this time (unlike the first sequel), applies a fresh coat of paint. The stylistic focus on car drifting could be easily reduced to a gimmick, nothing more than a way to differentiate itself in its action scenes, but hilariously, this movie builds an entire universe around drifting as an ethos. It takes the whack philosophy of the first film (random samples include "life is simple, you make a choice and you don't look back") and cranks it up to eleven, combing a coming of age story with a fish out of water story where people drift to prove themselves, drift to discover themselves, drift to know who their friends are, drift to find their place in the world, and at various points, even drift to find love ("why do I never c u drift?" / "because you never ask!
This movie gave me life, GAF. I laughed and screamed and cried and laughed some more.
Let's drift.
Discotheque
Banned
now onto the most boring one, and then the two best ones.
Puck Beaverton
Banned
Shinkai has been getting those comparisons for awhile, it does a disservice to both him and Miyazaki.
Does he really have to watch Tokyo drift two more times
Rhomega Beta
Member
The 40 Year-Old Virgin: It's been noted how Andy's friends are having bad relationships because of rushing into sex, but they're still immature about the subject like they're still in high school or college. Anyway, I like this movie due to Andy's behavior and clumsy mistakes when it comes to relationships and sex, and how it starts to work out fine once he starts getting on his own. Still have to admire him for his massive toy collection, nice apartment, and riding a bicycle.
Saw Baby Driver. Very funny and entertaining heist movie. All the performances are great, but Kevin Spacey and Jamie Fox fucking kill it. Spacey in particular steals every scene he's in with his odd comments and dialogue. Really funny stuff. The final act felt kinda flat though. And, personally, the song choices themselves didn't do much for me. Other than that, I think most people will enjoy it.
Best Vito Corleone quote.
Best Vito Corleone quote.
Baroquemantic
Member
Fantastic Beasts and Where to Find Them
That was pretty damn....fantastic. The Harry Potter movies were great, but I found this much more entertaining. The magical creatures are the best thing about this and I want to see more of them. Also, I now want to run through all the Harry Potters again. Got that itch now.
⭐⭐⭐⭐½
That was pretty damn....fantastic. The Harry Potter movies were great, but I found this much more entertaining. The magical creatures are the best thing about this and I want to see more of them. Also, I now want to run through all the Harry Potters again. Got that itch now.
⭐⭐⭐⭐½
AngmarsKing701
Member
The Three Musketeers (2011) - ridiculous, silly, over the top and amazingly fun. I always loved this story, so seeing Anderson's spin on it basically turned it up to 11. The swordfighting choreography is really wonderful. Too bad they set it up for a sequel at the end that will likely never come, but it was an enjoyable ride while it lasted.
3.5 / 5
3.5 / 5
Did the songs and what happens on-screen work well together?
Time and attention are a limited resource, i'd rather it not be spent on the Marvel machine.
Yeah, that's why i'm not too bothered, in that sense is good that these people get some compensation for their more creative stuff.
-
Split (M. Night Shyamalan, 2017) Very fun, and at times effectively creepy horror, with more than a touch of black comedy thrown in.
McAvoy was great, everyone else was serviceable to alright(which is fine).
Unfortunately the twist
was lost on me
Tarsem's The Cell.
Glad Shyamalan could catch a break, picking himself back up from having become the butt of every joke.
Passengers
spoiler tagging just in case
spoiler tagging just in case
WHAT THE FUCK?! how can you waste so much potential? this could have been such a good thriller, it has such a good premise and promise but nooo! lets make a shitty romance out of it! smfh. couldn't even finish it I was so angry and disappointed.
TheOnlyOneHeEverFeared
Member
Is Boss Baby a general comedy, or a kids comedy, or just a kids movie? Not that it matters, just idle curiousity. Plus thinking about it is more interesting than watching The Boss baby is.
So its a star studded voice cast in the story of a boss baby (a baby with adult intelligence and sensibilities) who comes down to a random family with only one child and upsets the natural order of it cos the baby has a mission from his company to destroy all dogs or something cos dogs are so cute people wants dogs not babies.
It's a pretty stupid surreal set up, and while thats not always a fault, in this case it makes it nearly impossible to engage with the narrative, on a story telling or emotional level. There's saying a plot makes no sense, and then a plot having no internal logic or rhyme or reason, its just stupid and poorly written.
The voice cast acquit themselves as well as can be, given the pretty dumb script, Steve Buscemi and Alec Baldwin are as good as you'd expect. Other than that though, the script gives them nothing to do, and its really just more wasted opportunity.
So there we go. Feels like a fine line with films like this, since on the one hand you're making a film for kids and you don't wanna make it too complicated or alienate them, on the other, you don't wanna patronise them. Boss Baby is patronising rubbish.
So its a star studded voice cast in the story of a boss baby (a baby with adult intelligence and sensibilities) who comes down to a random family with only one child and upsets the natural order of it cos the baby has a mission from his company to destroy all dogs or something cos dogs are so cute people wants dogs not babies.
It's a pretty stupid surreal set up, and while thats not always a fault, in this case it makes it nearly impossible to engage with the narrative, on a story telling or emotional level. There's saying a plot makes no sense, and then a plot having no internal logic or rhyme or reason, its just stupid and poorly written.
The voice cast acquit themselves as well as can be, given the pretty dumb script, Steve Buscemi and Alec Baldwin are as good as you'd expect. Other than that though, the script gives them nothing to do, and its really just more wasted opportunity.
So there we go. Feels like a fine line with films like this, since on the one hand you're making a film for kids and you don't wanna make it too complicated or alienate them, on the other, you don't wanna patronise them. Boss Baby is patronising rubbish.
AngmarsKing701
Member
I finished it and enjoyed it for what it was, but yeah, in different hands, with different actors, the morality of his decision could be its own movie.
BuckRobotron
Member
Kubo and the Two Strings -- Wonderfully animated, imaginative, and well voice-acted (I had no idea that McConaughey was Beetle until the credits). The ending fell a bit flat however, and such things as the aforementioned Beetle's overstated dimwittedness did grate a bit. Still, looking to rewatch.
Q: The Winged Serpent -- One of those movies you see parts of years back, but later discover was both weirder AND better than remembered. Michael Moriarty is an entertainingly amoral loon in this low budget early '80s creature feature (where the creature does things often enough but is ultimately secondary). Memory suggested a dull, humorless horror flick with a fascinating creature...but it is actually the other way around.
Q: The Winged Serpent -- One of those movies you see parts of years back, but later discover was both weirder AND better than remembered. Michael Moriarty is an entertainingly amoral loon in this low budget early '80s creature feature (where the creature does things often enough but is ultimately secondary). Memory suggested a dull, humorless horror flick with a fascinating creature...but it is actually the other way around.
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