• Hey, guest user. Hope you're enjoying NeoGAF! Have you considered registering for an account? Come join us and add your take to the daily discourse.

Movies You've Seen Recently |OT| August 2017

I've been regoing over the Harry Potter films recently, since I feel like I judged them too harshly at initial release, and it was possible they weren't quite as awful as I thought they were. Harry Potter and the Deathly Hallows: Part 1 is indeed, not as awful as I imagined. Not sure I could I love it, or have eny emotion stronger than liking it a bit mind.

On the one hand, these films have their own visual style and aesthetics that are way different from either the very vague visuals given from say, the book covers, or of course, from my own imagination, which isn't a flaw in itself, I just still don't like the overly dark visuals. Can't fault the music or musical/sound effects though, they have and always have been on point in these films.

The acting is up and down. Ralph Fiennes is a great actor, but I dislike his interpretation of voldemort. Jason Isaacs (Hello to Jason Isaacs!) has a small role as Lucius Malfoy I wish was expanded a little. It's also a small role in the book but its gosh darn Jason Isaac's. The central three characters don't work for me, particularly Emma Watson and Daniel Radcliffe do nothing for me and feel wooden and stiff. Helena Bonham Carter really irritates me in these films as Bellatrix Lestrange, but then David Thewlis as Lupin, Brendan Gleeson as Moody, Robbie Coltrane as Hagrid, really are great casting decisions and tend to make me think more positively of the rest.

The stuff they cut or leave out from the book is really what makes or breaks it though. There's 5 hours of film here between part 1 and 2 which would ideally make me think they wouldn't cut too much, but they sure do. On the one hand they're able to leave out any boring exposition plot dumps, on the other they leave stuff out that would fill in crucial details, or give relationships much needed emotional weight that makes stuff that happens mean something. This impacts the main trio for me specially, since I have never felt over these 8 films that enough time and effort was given to fleshing out the main friendship/relationship between Harry/Ron/Hermione to make it mean anything. Or say, the Tonks/Lupin relationship, which is barely mentioned over either film, or the value Harry learns to put in other people, like Luna Lovegood, who ends up being vague comic relief. I also detest what they did to spells, both with glossing over non verbal spells, and changing what they did with spells like how a lot of distinct spells in the book seems to do the same things in the films.

Oh, but the breaking into the ministry set piece is really good. I hate the way some of its done, but its the best part of the film, and its quite funny.


Gah, this sounds much more negative than I intended. I liked it kinda, and I started off hating it. But the little niggles and stuff that annoys me as a fan really does gnaw at me. I like it, I don't love it.


Also Spectre is great.
 
The Tree of Wooden Clogs - Ermanno Olmi

The type of extreme realism italian cinema always excelled. A vast look through the everyday struggles of several families who share a farmhouse. There is nothing here but vignettes of daily actions, in an italy drowned in social inequalities. The authenticity and the depiction of time gives it a unique scale. It's a picture of a world that, after two centuries, probably still exists only under different contexts.
 
The Killing of a Sacred Deer

I haven't laughed this hard at a film since The Wolf of Wall Street. No doubt it helped being in a packed cinema full of people on the same wavelength as me. Collin Farrell, Nicole Kidman and Barry Keoghan all carry the dryly delivered dialogue (like in The Lobster) very well making for some truly standout performances and hilarious yet disturbing scenes. Could easily end up becoming my favourite film of this year. Also, supposedly Yorgos Lanthimos is wrapping up on production with his next feature starring Emma Stone. DO want.
Hyped.
 

shaneo632

Member
Batman and Harley Quinn (2017) - 3.4/10. Total dogshit. Just...avoid this one. Bad fart jokes and casual sexism everywhere.
 
Raiders of the Lost Ark:
"It's not the years, honey, it's the mileage."

Well, many years and a lot of mileage later and Raiders of the Lost Ark is still pulp perfection. I was fortunate enough to see all the Indiana Jones movies for the first time on the big screen as a child thanks to an outdoor movie festival my parents were canny enough to take me too, and let me tell you these movies scarred me for life in the best way possible. I had forgotten how gruesome this one is outside of just the face melting scene that was permanently etched in my mind, and I wouldn't have it any other way since there's no adventure if there's no danger. Even Toht is a perfectly grotesque horror of a man, everything about him is dialed up to be as gross and creepy as possible, the perfect encapsulation of just why Indy has to keep the Ark away from these guys. Matching Spielberg's incredible action filmmaking chops is a near perfect script from Lawrence Kasdan, making for Spielberg's best movie that's not called Jaws.
 

Mi goreng

Member
Also regarding The Killing of a Sacred Deer, when the trailer hits I recommend not watching as you'll want to go into this as fresh as possible. I can't not see the first trailer spoiling some scenes.
 
Frost/Nixon (2008)
Starring: Michael Sheen, Frank Langella, Kevin Bacon, Sam Rockwell, Rebecca Hall, Oliver Platt, Toby Jones, Jim Meskimen
Director: Ron Howard
Being the president of the United States is looked at as one of the hardest jobs in the world. Balancing political agendas, personal beliefs, and what's right in both the eyes of the public and the law - it's enough to drive anyone mad. And with our current political standings, watching Frost/Nixon shows that while some things have changed, many things have stayed the same. The controversy that Trump has faced from his first day of office, I feel, is incredibly applicable to the controversy that Nixon faced from his final day in office. And I bring up politics because it's hard to view this film through anything but a political lens. The way Ron Howard has crafted this film is not as a lambasting of Nixon, nor one of the way the media treated him. Instead, it presents a view that makes you think, and one that shows that not everything in life is black and white. The film takes it a step further by not quite becoming a pseudo-documentary, but by having interview segments with the actors in character, which just adds to the realism and the sense of the actors embodying their characters. There is some excellent cinematography work, and each camera angle just adds to the tense situation that the interviews embody. And it's all held together by fantastic performances across the board. There's not a single weak link, everyone playing off of each other to form a cohesive ensemble. But it's Michael Sheen and Frank Langella who are the stars, and they shine brightest of all. Other than Kevin Bacon, who plays Kevin Bacon, it's hard to imagine many of these people as actors, as the lengths they go to portray their characters really comes through. The only negative I could say is that I felt that the score was used a little too often, and sometimes took away from the tenseness of the situations where no score would've been a better decision. But even that isn't enough to really ruin any part of the film. It's still a fascinating story where, regardless of who you feel was in the right, will still challenge those feelings.
 
Well shot != well made. A film is more than one element, it is the sum of its parts. Spectre is no doubt well shot, but that's just cinematography. One could easily recommend films with good cinematography as a point of interest, sure, but that shouldn't be the sole point of critique. A well shot film with a weak script that does help support what is being shot weakens a film. Great casting is wasted when the material provided fails to make good use of the cast. Spectre is honestly quite a failure as a constructed whole. It fails to be emotional, it fails to be exciting, it fails to be meaningful. It has all the components of a great film, but fails to be even a good one. That is why it is so disappointing.

Great points, especially the bolded. I really feel like they tried to recapture the magic of Casino Royale in terms of finding a new love interest for Bond who was more than just a fling. But it comes off forced. I don't know if it's the Craig/Seydoux chemistry, I don't know if it's the age gap (he was 47 at time of filming and she was 30), I don't know if it was the pace at which their "romance" escalated, and I don't know if it was just the jumbled way they went from "if you come near me I'll kill you" to "what do we do now?"/sex scene... it just didn't have any weight to it. I know they wanted it to, and perhaps if they had cut some of the "Nine Eyes" bloat from this they could have told a better paced story. In the end, they just said "lol Bond always gets the girl" and that was that.

I mentioned earlier the action scenes just felt ridiculous. There were a couple of times where it played ok, but overall it didn't come off in the same raw way that CR did.

In the end, they want us to believe Bond and Madeleine will still be together when the next movie starts, but they just weren't able to sell that.
 
THE BAY

there's some sort of bug in the water and lots of people die.Directed bY barry Levinson (who's filmography) doesn't suggest this sort of lo-fi found footage horror movie - really loved this. Its not conventional in its pacing - plays out more like a real incident and the pace of the horror is never conventional horror but more soberingly terrifying. The enemy isn't a ghost or serial killer or big bad. Loved the denouement too

8/10 (high score because its totally different from any found footage/horror I've seen of late)
 
That moviepass deal my guys.

I feel like there would be times of the year where this is a great idea (i.e., summer) and then there would be months where I feel like I'm paying for something I'm never using.

So essentially like Netflix lol.

Edit- also, their web site must be getting hammered because I keep getting "oops" and "error" messages in linking to anything there. Basically trying to find out which theaters in the Raleigh area support moviepass and can't even get onto their site.
 

kevin1025

Banned
The Quiet Ones

A British horror film from 2014, it is about how a professor wants to prove that there is nothing supernatural and that it's a manifestation of energy in subjects. It hops from skeptic to believer to skeptic all the way to the third act, where things are laid out for realsies. But the problem is that getting there is fairly dull, and a lot of the scary bits are essentially just banging noises in the walls and floors. Since horror movies have somewhat moved away from that and they are going for more classic horror lately, this felt quaint and not as interesting because of it. Olivia Cooke's real good, though.

Welcome to Me

The movie straddled the line. A woman (Kristen Wiig) with borderline personality wins the lottery and decides to make her own Oprah style show, but only about herself. It straddles the line because you have almost three-quarters of the characters exploiting her mental illness for financial gain essentially, and that feels real gross. But at the same time, there are some fascinating moments and I did enjoy parts. Wiig does great, and Wes Bentley is pretty good in this, as well.
 

pauljeremiah

Gold Member
Watched Amy today.

The one thing that kept running through my mind while watching Amy is how much her life runs parallel to Kurt Cobain. Both came from broken homes and turned to both music and drugs as their form of escape. Both poured their hearts in to their creativity. Sadly both ventured too far down the rabbit hole of escapism and were consumed by it.

I really adored Asif Kapadia’s last documentary Senna, it was a wonderful blend of archive footage and audio interviews that shows how cliché the talking heads format is. Asif uses the same techniques here and it works wonderfully too.

The film follows Amy’s life from about the age of fourteen till her untimely death at age twenty seven. The thing that shocks you about Senna’s death is that it was sudden and intense. BANG! His car hits the wall at Tamburello at nearly two hundred miles an hour and we are almost instantly left with the wreckage. In Amy we are shown the slow and horrible self-destruction of the combination of drug abuse, alcoholism & an eating disorder.

There are times when what is shown on the screen is both shocking and heart-breaking. Looking at this fascinating black and white photos of Amy during the height of her fame and as she appears near skeletal, deep dark rings around her eyes, and a faraway look in her eyes.

This documentary is powerful. It holds no punches when discussing both Amy and the people in her inner circle. From her husband to her father and how the majority of the people around her, were purely there to live off her coat tails and cared only about the Amy Winehouse machine then the person herself.

There is no getting away with the fact that this is a sad story; one that is all the more shaming when you consider that it played out so visibly in the public eye. But the public eye is very uncaring unfortunately and all too often empathises when it is far too late. But this film also captures the voice and the humour, so integral to Amy Winehouse. And so while it is impossible to ignore the tragedy, the beauty is here too. This was, after all, a very singular artist whose roots were in jazz, which is hardly music for lightweights.

Amy Winehouse was a proper talent who made music entirely on her own terms. If I was to criticise mildly it would be to say that the film itself might be marginally too long and perhaps goes over some ground more than it has to. But mainly this is ultimately a very worthy attempt to tell what is a complex and contrasting story to the screen with all its darkness and light.
 
Blue Jasmine (2013)
Starring: Cate Blanchett, Sally Hawkins, Alec Baldwin, Andrew Dice Clay, Peter Sarsgaard, Louis C.K., Bobby Cannavale, Alden Ehrenreich
Director: Woody Allen
I'm not very familiar with Woody Allen's directing style, and I feel like this may not have been the best film to introduce it.

Now, don't get me wrong; I liked the film. And there's a lot to like here. Most of all a superb performance from Cate Blanchett, who continues to prove herself as one of the best actresses working today. The emotional range she's able to convey throughout the film is incredibly impressive. And the supporting cast does a good job as well, Sally Hawkins and Bobby Cannavale specifically. You really feel their relationship ebb and flow throughout the film. The human drama that is presented at the start of the film is really interesting, and kept me engaged. And the cinematography is also fabulous, as are the musical choices throughout. And the final shot of the film is incredibly well done and really pulls together the narrative.

Unfortunately, it's the second half that lost me. Louis C.K. was incredibly disappointing, Alec Baldwin was playing Alec Baldwin the whole movie, and Peter Sarsgaard was so incredibly flat that it was hard to really get into his character. But it's really the writing that keeps the second half from living up to the first. Character motivations become less clear, a lot of things seem to happen just because the script demands, and the penultimate moment of the film, which should feel earned and exciting, happen because Andrew Dice Clay's character appears out of nowhere, delivers what the script needs to move forward, and then leaves. And even when the film gets back on it's feet at the very end, it doesn't feel special, because everything up to that point seemed to just be wandering, waiting for something to save it. All the charm in the world can't hide when the script is a bit of a mess.

But it is that charm that kept me going, and ultimately led to me still liking the film overall. It's not something that I would want to watch again soon, but I enjoyed the wild ride it took me on while it lasted.

I'm torn between a 6 or a 7. I probably give it a 7.

And I'm excited to see more of Woody Allen's work, specifically Midnight in Paris, which I'll probably watch soon.
 
Sing (2016) - aggressively mediocre. From the art style to the stories to the music choice, this one is mostly a dud. The last ten minutes tries to pull it out of the ditch with the pigs doing Shake It Off and Scarjo's original Set It All Free but it's really not worth the 95 minutes to get there.

2 / 5
 
Sing (2016) - aggressively mediocre. From the art style to the stories to the music choice, this one is mostly a dud. The last ten minutes tries to pull it out of the ditch with the pigs doing Shake It Off and Scarjo's original Set It All Free but it's really not worth the 95 minutes to get there.

2 / 5
Honestly, the film works better as a soundtrack than as an actual movie.
 

cr0w

Old Member
Just watched Alien Covenant with my wife. She's been frothing at the mosince th to see it since th first trailer.

It was serviceable, I guess? All told nothing really fucking happened, but from people placing it in the "Worst Movies You've Paid To See In Theater"
thread i expected a lot worse.
 

UrbanRats

Member
Rewatched the Batman trilogy (Nolan's) these past week, after that turd of Arkham Knight, i guess i wanted to part ways on good terms with the character, lol.

Batman Begins, formerly my favorite of the three, i found quite boring.
The origin arc is fun, seeing Bruce go on the mountains to train with ninjas, is as fun as it is silly, but from there the movie really lacks a solid threat to the Batman, a villain that can actually fuck with him, Liam Neeson is good as Ras, but he's in there for like 5 minutes.

The Dark Knight is probably the best one, just because of how good the Joker and the Batman work together, however i did find weird how this movie starts out with a tense climactic moment, and then NEVER FUCKING STOPS, this may sound like praise, but it's actually kind of tiring, two characters have a calm-ish conversation, and the camera is spinning around, and Hans Zimmer is pumping in the background.
And the movie is like 5 hours, so it's like an adrenaline shot that never stops.

I also don't like how in the first Batman, Gotham was a fucking shit hole of bum homes built on top of each other (really, they exit a high class theater, into a dirty ass alley?), but then in 2 and 3, it became just some sleek North American glass city.
We were joking that "Gotham" is just a title they give to whatever city Batman decides to reside in, that's now canon in my head.

Finally, Dark Knight Rises is a beautiful fucking mess of a movie, but that's no surprise to anyone.
I was too harsh on this movie when i first saw it, yeah the writing is bad (honestly, you got plenty of awkward exposition and bad lines throughout the trilogy) and yeah the action is particularly bad, and yeah so many plot points make absolutely no sense ("Yo, when i said send every single available cop in the sewers, IT WAS A FIGURE OF SPEECH, FOLEY!") but fuck if this movie isn't a great train wreck to witness.
I don't think a villain as funny (intentionally or not, i still can't tell) as Bane will ever exist again in another superhero movie, and Bale as Wayne seemed especially different, bringing more humanity and levity to the character, or maybe he was just trying less to be super intense with ever little thing he said.
This time they do take it slow with the pacing (or slower, these Nolan movies still move about pretty frantically), but i wasn't particularly bored, it's just too much of a mess to look away.
This time around i liked Catwoman tho, even if the flirty tone of her doesn't click super well with the apocalyptic tone they're going with.
She maybe would've fit more in Dark Knight.

Felt like an exhausted closure to the trilogy, like everyone involved was ready to move on, a year prior to shooting it.
And when you have to nuke a character out of existence, that's always telling.
 
That's pretty much how I feel about those movies, too. I actually find the constant climax structure of The Dark Knight to be quite novel though, it feels like you go through the ringer once you're done which I'm sure was the intent.
 
For me, there was a sense of Nolan's Batman being grounded in a reality that could happen. Rich guy becomes vigilante ninja in a mask and cape. It wasn't as farfetched as "dude build nuclear reactor in a cave so he can make sure his heart still beats Iron Man" mode.

It was basically: this could happen. You might need to squint a little.

And Begins and TDK keep that realism going. The Joker is a tremendous villain doing terrible things, but he's doing them in a realistic way.

TDKR blows up the field of a stadium and the reality goes whoooosh out the window.
 

Apt101

Member
The Birth of a Nation - the new one. A slow burn that accelerates rapidly at the climax. Great acting and all, but wasn't as impressive as I was hoping. Worth a watch, it's on HBO Now.

The Accountant. I enjoyed this a lot. I understand why critics didn't care for it more, but I think it was good. Lots of subtle twists in the homestretch that worked. Spoilers, if anyoe cares:
Affleck did a wonderful job selling the character as more machine than man when it came to thinking and actions
. Also on HBO Now. I took to calling him Asperger's Bourne. Which will be apparent if you watch it or read any review.
 

UrbanRats

Member
For me, there was a sense of Nolan's Batman being grounded in a reality that could happen. Rich guy becomes vigilante ninja in a mask and cape. It wasn't as farfetched as "dude build nuclear reactor in a cave so he can make sure his heart still beats Iron Man" mode.

It was basically: this could happen. You might need to squint a little.

And Begins and TDK keep that realism going. The Joker is a tremendous villain doing terrible things, but he's doing them in a realistic way.

TDKR blows up the field of a stadium and the reality goes whoooosh out the window.

I mean the most unbelievable part of those movies isn't even the Ninjas, is how the whole Wayne foundation works.
The comically charitable bullshit he utters in every dialogue, the silly train idea, and of course in TDKR they even have the poor looting from the rich in Bane's socialist utopian nightmare.
It's all sorts of weird, but i get that it must be a struggle to make normal movie goers sympathize with Batman, given his wealth.

Especially since his Batman position gives him an inherently patronizing role.
But i'm not sure they cracked that nut perfectly.
 

lordxar

Member
Why so serious? Lol

I always took Gotham as a total shit hole infested with crime which got romanticized in the cartoons and other films but I'm not a comic reader so that might not be how it should be. That said going from a nice street to a seedy alley will never not feel stupid. Hey look we could take a limo home or walk through crime central...hmmm
 

UrbanRats

Member
Why so serious? Lol

I always took Gotham as a total shit hole infested with crime which got romanticized in the cartoons and other films but I'm not a comic reader so that might not be how it should be. That said going from a nice street to a seedy alley will never not feel stupid. Hey look we could take a limo home or walk through crime central...hmmm

IIRC, in Begins they had built a huge set, but in the sequels they didn't, and they just used a real city.
So that's probably why the first one looks so different than the sequels.
I'm fine with either approach to be honest, it's the divide that is jarring.
 
Nolan basically treated each movie as a whole separate production with their own visual directions overriding any continuity. Iirc for The Dark Knight he wanted the city to look all nice and clean to show Batman's influence and to contrast with the havoc once Joker starts fucking things up.

But I did really dig the Blade Runner grime and grit of Begins.
 

Icolin

Banned
I acknowledge TDKR has tons of problems, and that Batman Begins and The Dark Knight are better, but I still really love TDKR.

The ambition and grandiose scale, which is present in many of Nolan's movies, is in full force in TDKR. It's a hell of a conclusion to one of the best trilogy of films ever.
 
Dark Knight Rises is amazing. It's just so out there for that type of film. Bane egalitarianism portrayed as a more radical approach to the new-man that Ra's preached is such a clever way to bring the league back, play with the zeitgeist, set higher (personal) stakes and close the circle. Such an entertaining movie.
 
Nolan basically treated each movie as a whole separate production with their own visual directions overriding any continuity. Iirc for The Dark Knight he wanted the city to look all nice and clean to show Batman's influence and to contrast with the havoc once Joker starts fucking things up.

But I did really dig the Blade Runner grime and grit of Begins.
That's the part I really like about the trilogy. The fact that each movie, while following a similar tone, feels like it's taking different inspirations depending on the villain and the plotline. They feel like part of a trilogy, but they also feel like they could each work on their own.
 
Still, how cool would it have been to have Bane in TDK and Joker in TDKR? Bane felt like more of a progression from Ras, and just when Batman thinks he's gotten everything all fit and tidy, here comes the random sociopath to fuck things up, reminding us all to stay ever vigilant.

With TDK being the best of the trilogy, it feels like it could have been tweaked to play that way.
 
Still, how cool would it have been to have Bane in TDK and Joker in TDKR? Bane felt like more of a progression from Ras, and just when Batman thinks he's gotten everything all fit and tidy, here comes the random sociopath to fuck things up, reminding us all to stay ever vigilant.

With TDK being the best of the trilogy, it feels like it could have been tweaked to play that way.
Yeah, I could see that. That could've worked I think.
 

lordxar

Member
Still, how cool would it have been to have Bane in TDK and Joker in TDKR? Bane felt like more of a progression from Ras, and just when Batman thinks he's gotten everything all fit and tidy, here comes the random sociopath to fuck things up, reminding us all to stay ever vigilant.

With TDK being the best of the trilogy, it feels like it could have been tweaked to play that way.

Interesting idea. The way the trilogy plays out though is a near perfect swell of action to a crescendo that ebbs off and ends satisfactorily. Swapping that around to a constant buildup that goes out hard would make it feel completely different...and now I want both versions
 
Interesting idea. The way the trilogy plays out though is a near perfect swell of action to a crescendo that ebbs off and ends satisfactorily. Swapping that around to a constant buildup that goes out hard would make it feel completely different...and now I want both versions

But building it up to where Batman actually kills Joker, thus closing the circle, forcing him to become the very thing he has fought against, would have been one helluva way to close the trilogy vs. the nuke out over the ocean and the lunch scene with Michael Caine.
 
I love TDK trilogy, though I see TDKR as unquestionably the worst of them (and Nolan's worst ouput) but even in that movie I admire what he was trying to do. And there are some bright spots in there in the performances and ending particularly.

Y'all are right that TDK just keeps up this level of anxiety that can get kinda tiring to watch, but I thought it was really effective in theatres because of this. And although rewatches make that more of a problem its not so bad that it hurts the movie too much for me. I'm still more impressed with this one more than anything since in this genre. Logan is the only one that really belongs in the conversation post-TDK but I'm more a sucker for the Mann-inspired cityscapes and dialogue (Oldman's Gordon feels like he stepped right out of a mann cop movie in here) that Nolan brings to Batman.


Annabelle: Creation (Poltergeist 12)
nahhhhh

theres nothing positive I can say about this other than remarking on how it was competently made and acted. everything you've seen in here has been done before, the same characters, the same scares, the same setup etc. etc.

part of the Conjuring Cinematic Universe (something that really owes Stephen Spielberg and William Friedkin a lot of money tbh considering how derivative of Poltergeist and Exorcist they all are at this point), this stands to be one of the weaker entries in it. at least the conjuring 1 and 2 had some likeable lead characters to anchor the movie on, and despite Wan also working with the exact same formula there are more interesting scares peppered in there which are entirely absent in here.

having recently seen Alien: Covenant as well, although that is more of a mess, I enjoyed that movie a lot more.
 

Ridley327

Member
Killer Klowns from Outer Space: Surprisingly dull for a movie about, well, killer clowns from outer space. A lot of love went into the makeup effects, costuming and sets for our title characters, especially as I can't imagine that there was a lot of money going around, but they don't do a whole lot with the concept that you wouldn't be able to ascertain from the setup, leading to a film that hopes that the strangeness of the idea is enough to make up for the lack of actual good jokes. It certainly isn't, and it doesn't help that the cast is unremarkable at best and genuinely irritating at worst (including, shockingly enough, the normally reliable John Vernon who looks like he'd rather be somewhere else than here), making the humor that much more difficult to convey. This is the kind of film where the darker bits grabbed me a lot more, including a near-miss involving a little girl that's played rather straight and winds up actually quite disturbing as the scene progresses, which makes me wish the film had more of that. I don't doubt that there was a desire to get in on the same racket that Gremlins had help to invent at the time, but I know that between the two, which one I'll be continuing to revisit.
 
Gone With The Wind: I liked the first half better, dealing with how the Civil War affects Scarlet's life. The second half is tragedy after tragedy, with a faint glimmer of hope. The film is well shot, and I do admire Clark Gable's acting (this is the first movie of his I've seen). It's a good movie (though The Wizard of Oz is the better 1939 movie), but it's nearly 4 hours.
 

Sean C

Member
Dangerous (1935): Bette Davis snags the first of which would be two Oscars for a showy performance as a burned out alcoholic stage actress. Davis' performance is the main reason to watch the film now, which is a mostly predictable melodrama, albeit with an ending that hinges on peculiar notions about one's obligations in a society with no no-fault divorce (and a serious lack of context for how exactly Davis brought about the ruin of her husband).
 
Killer Klowns From Outer Space: Ridley327 inspired me to knock this off my watchlist. It's a cheesy bad movie, almost but not quite worth of Mystery Science Theater 3000. The costuming is well done, and I like how these clowns stick with their theme, with cotton candy, popcorn, jack-in-the-box heads, and even a killer shadow puppet. Yeah, the budget's not all there (like the clown that "jumps" really high in the air), but it's fun.
 
Backtrack (2015) - hey what's this Australian Sixth Sense knock off movie? It has Adrien Brody and Sam Neill. Those are two stars I recognize.

Aaaaand that's what this bland borefest gets: two stars. Satisfying conclusion notwithstanding, this was a paint by numbers "thriller" with supernatural elements and Brody and Neill looked as though they were barely interested in this.

2 / 5
 
Annabelle: Creation (Poltergeist 12)
nahhhhh

theres nothing positive I can say about this other than remarking on how it was competently made and acted. everything you've seen in here has been done before, the same characters, the same scares, the same setup etc. etc.

part of the Conjuring Cinematic Universe (something that really owes Stephen Spielberg and William Friedkin a lot of money tbh considering how derivative of Poltergeist and Exorcist they all are at this point), this stands to be one of the weaker entries in it. at least the conjuring 1 and 2 had some likeable lead characters to anchor the movie on, and despite Wan also working with the exact same formula there are more interesting scares peppered in there which are entirely absent in here.

having recently seen Alien: Covenant as well, although that is more of a mess, I enjoyed that movie a lot more.

really hard to do good exorcism stuff after the exorcist

I watched the first conjuring the other night and I was into it until it devolved into that silliness (and the vera farmiga character)

that Annabelle doll is like wtf.. what kid would ever want that thing
 
Top Bottom