Movies: Last Movie You Watched and Rate it | {Insert Appropriate Seasonal Greeting Here}

[ItsFineImFine]

Bullshit On The Nile (2021) - 5/10

Kenneth Brannagh should have his knighthood stripped for ruining this literary work. Imaging Poirot wielding a gun, screaming rubbish, intimidating suspects, or plainly asking them 'are you the murderer' like an oaf. His goal is clearly trying to turn it into a sensationalist film filled with jumps, Agatha Christie's works especially her stronger ones like this already had thrills in them. Brannagh just removed all the brains.

 

[kihei]

Glad to see CODA is getting better reviews lately. The Power of the Dog is still the front runner for Oscars but CODA has crept up recently in most reviews I have read recently and many think it is No. 2 now chasing Dog's tail. Won't win but happy to see some more positive reviews.

Congrats Puck on CODA's win. If I could, I would happily buy you a beer right now and toast your movie coming through when it counted most.

 

[Puck]

Thanks kihei. I don't have a sense of ownership on this movie. I am happy for it though and for Sian Heder, it must be a thrill to be at the top of the hill for a Director just starting out. I can understand why some critics expressed weariness about watching some predictable cinematic tropes but it was such a nice little movie (warts and all), hard to dislike. In another weird lockdown year for films it was just my favorite.

 

[Osprey]

Congrats Puck on CODA's win. If I could, I would happily buy you a beer right now and toast your movie coming through when it counted most.

Not to ruin this moment of impressive sportsmanship, but also congrats, kihei, on what I assume is your first 3A to win Best Picture.

(I gave it a 5/10, if you recall, so I'm not far behind)

 

[kihei]

Not to ruin this moment of impressive sportsmanship, but also congrats, kihei, on what I assume is your first 3A to win Best Picture.


(I gave it a 5/10, if you recall, so I'm not far behind)

Nope, erroneous assumption.

3s:

Rocky
Crash
CODA

2s:

Going My Way
Forest Gump

Damning with faint praise, if I had to sit through one of them again, it would be CODA.

 

[KallioWeHardlyKnewYe]

Spent the weekend catching up on a few of the Best Picture nominees. Never made it to Belfast.

CODA. The nicest way I can say it is with a figure skating analogy. This is the precocious 14-year-old skater who brings her teddy bear to every competition. Her skills are limited and we've seen all her tricks before. But what she is capable of doing she does well. Her sheer, overwhelming preciousness makes you feel like you're kicking a puppy when you dare point this out.

King Richard. Yet another Hollywood hagiography. Well made. Well acted. Certainly, a good example of what it was but my natural cynicism puts a ceiling on how much JUST BELIEVE IN YOURSELF B.S. I can tolerate. This exceeds that threshold.

West Side Story. I think Tony and Maria are kinda drips. (even in the original) This really starts to drag once several of the more interesting and engaging performers/characters depart the story. But there is some big screen, joyous, old school filmmaking going on here that, at times, was hard not to get swept up in.

 

[Osprey]

Nope, erroneous assumption.

3s:

Rocky
Crash
CODA

2s:

Going My Way
Forest Gump

Damning with faint praise, if I had to sit through one of them again, it would be CODA.

My mistake. I didn't make it clear that I meant reviewing them on this site before they won. I knew that you hated some of those older winners with a passion.

 

[Pink Mist]

The Insider (Michael Mann, 1999)

For a 60 Minutes expose on the tobacco industry, producer of the series Lowell Bergman (Al Pacino) has the perfect smoking gun – a recently fired and disgruntled vice president of research from the 3rd biggest tobacco company in America, Jeffrey Wigand (Russel Crowe). The only problem is he has a pesky confidentiality agreement that muzzles him from being able to blow the whistle on the tobacco industry for the public’s knowledge and appearing on television. The Insider, which is based on a true story, is a slight departure from the typical Michael Mann film as it is a corporate/legal thriller. Nonetheless it has most of the typical Mann characteristics and it is a slick tense, though over long, thriller. The first 90-100 minutes of this is superb as Pacino’s character pressures Crowe’s to speak out on the record only to have the story killed by CBS’s corporate team over fear of being sued by the tobacco company. Unfortunately, the filmed dragged out for another hour from there as a celebration over the integrity of journalism – which I don’t know, I know enough about the industry to find this section way less interesting and at times cringy, and I think putting Crowe’s performance to the backseat while we focus on Pacino is a little bit of a misstep.

 

[OzzyFan]

King Richard. Yet another Hollywood hagiography. Well made. Well acted. Certainly, a good example of what it was but my natural cynicism puts a ceiling on how much JUST BELIEVE IN YOURSELF B.S. I can tolerate. This exceeds that threshold.

You know, I've been tempted to watch King Richard ever since Will Smith was winning many awards for the role, but 2 and a half hours is very offputting given the known and highly predictable subject matter. Is the performance that profound and worthwhile? Is it better than his Ali performance?

Thanks kihei. I don't have a sense of ownership on this movie. I am happy for it though and for Sian Heder, it must be a thrill to be at the top of the hill for a Director just starting out. I can understand why some critics expressed weariness about watching some predictable cinematic tropes but it was such a nice little movie (warts and all), hard to dislike. In another weird lockdown year for films it was just my favorite.

Congrats. Widespread appeal I think is what made CODA win. Dune is probably a bit too niche (King Richard arguably also, depending how it hit with the altogether Women's audience), Power of the Dog's subject matter is a little rough without much 'positivity', Belfast didn't overwhelm and it felt like it had more appeal to an older demographic, Drive My Car didn't receive the Parasite-sized release/word of mouth to have a chance, West Side Story and Nightmare Alley are supposedly lesser remakes and should not be in the conversation, Licorice Pizza doesn't feel like a best picture nominee, especially when you consider it's statutory rape relationship, and Don't Look Up didn't deserve to be there.

 

[KallioWeHardlyKnewYe]

You know, I've been tempted to watch King Richard ever since Will Smith was winning many awards for the role, but 2 and a half hours is very offputting given the known and highly predictable subject matter. Is the performance that profound and worthwhile? Is it better than his Ali performance?

Congrats. Widespread appeal I think is what made CODA win. Dune is probably a bit too niche (King Richard arguably also, depending how it hit with the altogether Women's audience), Power of the Dog's subject matter is a little rough without much 'positivity', Belfast didn't overwhelm and it felt like it had more appeal to an older demographic, Drive My Car didn't receive the Parasite-sized release/word of mouth to have a chance, West Side Story and Nightmare Alley are supposedly lesser remakes and should not be in the conversation, Licorice Pizza doesn't feel like a best picture nominee, especially when you consider it's incestuous relationship, and Don't Look Up didn't deserve to be there.

I'm probably the wrong person to ask because I'm pretty cool on biopics. Impersonating famous people just doesn't do much for me in general. Wow you got a new hairstyle and you're speaking with an accent.

But he's fine. Wouldn't have been my best actor choice but there's nothing bad about what he does.

 

[Puck]

You know, I've been tempted to watch King Richard ever since Will Smith was winning many awards for the role, but 2 and a half hours is very offputting given the known and highly predictable subject matter. Is the performance that profound and worthwhile? Is it better than his Ali performance?

I thought King Richard was ok. I did not think I would like it but I was actually pleasantly surprised. Will Smith gives a good performance. I had no issues with him pulling an Oscar. Would not have bothered me if he hadn't but I think he and Cumberbatch were the running favorites.

 

[kihei]

The one thing I really liked about King Richard is, for once, they got the tennis right, which seldom happens and bugs me no end.

As for Smith's performance, it's fine, but I see no reason it deserves an Oscar or even a nomination. I don't see why Bardem got nominated either for essentially the same schtick.

 

[KallioWeHardlyKnewYe]

Bullshit On The Nile (2021) - 5/10

Kenneth Brannagh should have his knighthood stripped for ruining this literary work. Imaging Poirot wielding a gun, screaming rubbish, intimidating suspects, or plainly asking them 'are you the murderer' like an oaf. His goal is clearly trying to turn it into a sensationalist film filled with jumps, Agatha Christie's works especially her stronger ones like this already had thrills in them. Brannagh just removed all the brains.

Have you seen the BBC adaptation of The ABC Murders with John Malkovich as Poirot? I share a similar aversion to tweaks to the Poirot character that pull him away from the classic portrayals.

 

[Pink Mist]

Grigris (Mahamat-Saleh Haroun, 2013)

Souleymane Démé is a shy young man with a paralyzed leg who works at his stepfather’s photography shop, but by night he is N’Djamena, Chad’s most amazing dancer in its nightclub where he is know as Grigris is looked up to for his dancing moves. Grigris’s stepfather is ill and lands himself into the hospital and his family now has a hefty hospital bill to pay so Grigris turns to the underworld to help smuggle petrol to help pay for his stepfather’s hospital stay. Meanwhile, Grigris has developed feelings for a local prostitute, Mimi, who come to his shop for photos and also frequents the nightclubs. The last two films I have watched by Haroun (A Screaming Man and Abouna) were dramas, in Grigris Haroun veers into neo-noir as he explores the seedy but vibrant nightlife of the Chadian capital. The film very much feels like a neo-noir film from America or Europe but transplanted to an African setting, which makes it a very accessible film for those looking to expand into African cinema as it will feel very familiar. A little formulaic but it is a great character study, particularly of disability an African setting. Démé is a little raw as a non-professional actor, but he is an outstanding dancer and there are some very good dance scenes here.

 

[Puck]

Saw this interesting piece in the NYT, link to Press Reader because under a paywall

PressReader.com - Zeitungen aus der ganzen Welt

Digital newsstand featuring 7000+ of the world’s most popular newspapers & magazines. Enjoy unlimited reading on up to 5 devices with 7-day free trial.

www.pressreader.com

The end of movies? I don't think so. But change is coming.

 

[Osprey]

No Highway in the Sky-1951

An engineer believes he has discovered a dangerous flaw in an aircraft's design. It's only a theory but his airline sends him to a recent crash site to further investigate. En route, he learns that the aircraft he is on is approaching the danger point based on his theory. Gripping, edge of the seat drama as the flight unfolds. There is a bit of Harvey in Jimmy Stewart's performance (Harvey was made the year before with the same director). Fine cast, enjoyed this film. Available on YouTube.

I watched this last night and liked it. It was different. The plot reminded me a little of Nightmare at 20,000 Feet (the Twilight Zone episode) and Stewart's performance was a little like in Harvey, as you said. It really toys with our anticipation and expectations. I could've used more time on the plane ("airtime," I guess that you'd say, heh), since that was the most suspenseful, and the film did peter out in the last act, but it was still enjoyable. There were a lot of quaint things in the film, like trusting passengers on planes and strangers with children. Glynis Johns has such a calming voice. Thanks for the recommendation.

 

[Chili]

I watched this last night and liked it. It was a different. The plot reminded me a little of Nightmare at 20,000 Feet (the Twilight Zone episode) and Stewart's performance was a little like in Harvey, as you said. It really toys with our anticipation and expectations. I could've used more time on the plane ("airtime," I guess that you'd say, heh), since that was the most suspenseful, and the film did peter out in the last act, but it was still enjoyable. There were a lot of quaint things in the film, like trusting passengers on planes and strangers with children. Glynis Johns has such a calming voice. Thanks for the recommendation.

Cool. Liked that film too. Not Air Force One level suspense but strong cast, plausible story. Probably related to it from a personal experience on a flight where we had to go through the crash landing procedure (turned out the landing gear was coming down and locking in place but the pilot's dashboard was not confirming that). Look Ma, no landing gear! I remembered Glynis Johns from a small memorable role in 49th Parallel (which I believe is on Youtube as well). Glad you enjoyed it.

 

[Osprey]

The Power of the Dog (2021) - 6/10

Instead of the Oscars (did I miss anything?), I watched this the other night, since I figured that it would win Best Picture and many other awards. Oops. I put it off because I thought that I wouldn't like it, but I did a little more than I expected to. Some of that was because I found it unintentionally funny, though. It has some of the most pathetic characters in it. I guess that I was supposed to feel bad for them, but I kind of just wanted to shake them and tell them to stand up for themselves. That's a compliment towards the acting, though. I'm glad to see that Kodi Smith-McPhee was nominated for Best Supporting Actor. He reminded me of Lukas Haas in Witness. I liked the cinematography and that the plot didn't quite go in the direction that I was expecting. There were a couple of points where I was afraid of what would happen next and was surprised. I was concerned that it'd be a chore to get through, but it wasn't. It didn't really engage me on any level or really impress me, not like I'd expect a Best Picture nominee to, but I didn't mind it and did appreciate things about it. By the way, a male director filling his film with naked and semi-naked women? Sexist. A female director filling hers with naked and semi-naked men? Best Director.

Scream (2022) - 6/10

It's a Scream movie all right, which is a compliment, since it's the first since Wes Craven died. He would've approved, I think. These movies are dumb and smart at the same time, if that makes any sense, and mildly fun. Their entire appeal is in how self-referential they are, and this one takes it to the extreme. It makes fun of not just the franchise (like how it's a ripoff of Halloween), but also itself (like when a character complains that a fictional horror sequel has the same name as the original). The acting is mostly not good, but it's supposed to be campy... I think. Easily the best and most serious acting is by Jenna Ortega, who apparently didn't get the memo that she was in a Scream movie. It's bloodier than I remember the other Screams being, so it's an honest slasher, not just a watered-down one for teens. The plot is convoluted, makes no sense and drags a little near the end (nearly 2 hours seems a bit long)... just like other Scream movies. You either give those things a pass and buy into the absurdity or you don't. I can go along with it for the most part, so I found this mildly entertaining, like the others.

 

[ItsFineImFine]

Have you seen the BBC adaptation of The ABC Murders with John Malkovich as Poirot? I share a similar aversion to tweaks to the Poirot character that pull him away from the classic portrayals.

Garbage, I hate John Malkovich he's an annoyingly smug little actor, he somewhat ruins films for me.

Ironically I thougth Being John Malkovich was a very good movie but then again, he's not a main character in it.

 

[TD Charlie]

The Power of the Dog (2021) - 6/10

Instead of the Oscars (did I miss anything?), I watched this because I figured that it would win Best Picture and many other awards. Oops. I liked it more than I expected to, though some was because I found it unintentionally funny. It has some of the most pathetic characters in it. I guess that I was supposed to feel bad for them, but I kind of just wanted to shake them and tell them to stand up for themselves. That's a compliment towards the acting, though. I'm glad to see that Kodi Smith-McPhee was nominated for Best Supporting Actor. He reminded me of Lukas Haas in Witness. I liked the cinematography and that the plot didn't quite go in the direction that I was expecting. There were a couple of points where I was afraid of what would happen next and was surprised. I was concerned that it'd be a chore to get through, but it wasn't. By the way, a male director filling his film with naked and semi-naked women? Sexist. A female director filling hers with naked and semi-naked men? Best Director.

Just finished it. dreadful. I would sooner go back and watch the Bruins Leafs game from tonight than have to say another word about that movie.

 

[Osprey]

Just finished it. dreadful. I would sooner go back and watch the Bruins Leafs game from tonight than have to say another word about that movie.

I can understand if you're a little sensitive to 6/10 scores tonight.

 

[Pranzo Oltranzista]

1917 (Mendes, 2019) - The technical feat makes it a lot more interesting than it is, and seeing it with a friend who loves the film made it more enjoyable than it probably is too. A generous 5.5/10

The Invisible Man (Whannell, 2021) - I was expecting the worst, but the first part (almost half) of the film made me believe that this might actually turn out to be a great horror film. The abused woman's trauma angle is kind of brilliant, and the film would ironically have been a lot better had the invisible man remained invisible - the evil/mad scientist trope was inevitable, I guess, but boring, and the scooby-doo stuff was predictable and dumb. Despite the frustrating second half, I'll be generous here too: 4.5/10

 

[KallioWeHardlyKnewYe]

Garbage, I hate John Malkovich he's an annoyingly smug little actor, he somewhat ruins films for me.

Ironically I thougth Being John Malkovich was a very good movie but then again, he's not a main character in it.

I'm generally a Malkovich fan but I really really disliked his Poirot. Poorly conceived and directed as well.

Poirot's been done so many times I kinda get the urge to try to do something different with it ... but every time it happens, it never really works for me.

 

[kihei]

What Do We See When We Look at the Sky? (2021) Directed by Alexandre Koberidze 6B

In the verdantly green Kutaisi, Georgia (the country, not the state), two strangers, Lisa and Giorgi, keep bumping into one another. Eventually they decide to meet at a coffee shop to get to know one another better as each is secretly smitten by the other. However, an "evil eye" (he, she, it is never disclosed) puts a curse on them. When they wake up on the day they are supposed to meet, both have completely changed facial appearances. How will they ever find one another now? This is played not as a horror trope, more like a whimsical fairy tale story and the director just uses it as a starting point for his major message: which is: appreciate the world around you, look at your world with fresh eyes. There is scant dramatic detail in this nearly three hour movie. We spend a lot of time looking at scenery, watching children play, observing goings on in coffee shops and so on. I mean, it is a nice message full of good intentions, but I did not need so much of it. Every now and then there is a clever bit, the town's dogs having individual preferences for where they watch World Cup soccer games, for instance. But ultimately What Do We See When We See the Sky? is just too much of a good thing.

Sidenote: Great New Wave director Francois Truffaut would have handled the same material less obviously and in half the time. Of course he is long dead....but the reference is meant to gives you a feel for what the movie is trying to do.

subtitles

MUBI

 

[Pink Mist]

7 Boxes / 7 cajas (Juan Carlos Maneglia & Tana Schémbori, 2012)

Víctor is a 17-year-old courier in Asunción, Paraguay’s market who wants nothing more than to buy a cell phone with a camera. Struggling to get the money for the phone he receives a proposal to transport seven boxes with an unknown cargo for some shady butchers and to keep out of sight from the police with it. Sounds like an easy way to make some good money, right? Obviously it couldn’t be that easy, for one, he took the job from another local courier who is struggling to pay for insulin for his baby (which is one of the wildest reasons to make some one a villain), and the local police catch wind of the boxes and want to track down Víctor. 7 Boxes is a very stylish and fast paced thriller; the type of thriller that is often associated with South Korean and Hong Kong films but this one takes place in a South American setting (although it does actually feature some Koreans in the film). The plot is a little wild - although it is at least kind of plausible and has a logical consistency - and there is probably a few too many subplots and characters involved, but it is a fun way to spend 100 minutes. The maze-like market makes a really good setting for a film, as a claustrophobic and chaotic space full of shops, cops, and robbers, and the two protagonists, Victor and Liz have great chemistry together and are enjoyable to watch. Worth watching if you want a thriller off the beaten path. Really surprised there hasn’t been a bad Hollywood remake of this yet.