I remember seeing Frogs back in the day. A lot of people croaked in that movie.
Movies: Last Movie You Watched and Rate it | {Insert Appropriate Seasonal Greeting Here}
- Thread starter ProstheticConscience
- Start date
Honestly, it's not worth five bucks. I think I streamed it (no extra charge) as part of our Prime subscription. It was interesting seeing a young Elliott, but..
Those (unsold) Frogs DVDs will probably make their way to a Big Lots at some point, then a local thrift store, then an alley dumpster. The circle of life..
Hippasus
1,9,45,165,495,1287,
Twisters 425
One of the primary motifs of this movie was the relation between humanity and extra-human nature. This is always, in my opinion, a good one. Although, I'm pretty sure, a lot of the events of the plot are unrealistic. E.g. entering tornadoes, the storm chasers continually become rescue workers, etc. But still, I liked how they brought in a bit of mathematics and science a few times, even if fleetingly. It was largely a love story. The female, lead actor of the film, was endearing and a rare, heroic sort of person. I think she carried the film well. There were some notable character transformations from the other actors as well. I think Guy Peirce was the cowboy, but I'm not sure. I also liked the CGI, set designs, etc. for some compelling and realistic visuals.
200: distasteful and pathetic
300: mediocre or subpar
400: average, but decent
500: very good
600: superb
700: transcendental
EDIT: That actor was Glen Powell.
One of the primary motifs of this movie was the relation between humanity and extra-human nature. This is always, in my opinion, a good one. Although, I'm pretty sure, a lot of the events of the plot are unrealistic. E.g. entering tornadoes, the storm chasers continually become rescue workers, etc. But still, I liked how they brought in a bit of mathematics and science a few times, even if fleetingly. It was largely a love story. The female, lead actor of the film, was endearing and a rare, heroic sort of person. I think she carried the film well. There were some notable character transformations from the other actors as well. I think Guy Peirce was the cowboy, but I'm not sure. I also liked the CGI, set designs, etc. for some compelling and realistic visuals.
200: distasteful and pathetic
300: mediocre or subpar
400: average, but decent
500: very good
600: superb
700: transcendental
EDIT: That actor was Glen Powell.
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BobColesNasalCavity
Registered User
Dodgeball. Haven’t seen it in probably 10 years. Still hilarious.
12/10
12/10
KallioWeHardlyKnewYe
Hey! We won!
- May 30, 2003
- 15,766
- 3,803
The Instigators. Matt Damon and Casey Affleck play a pair of idiots who get wrapped up in a heist gone wrong. Shamrocks & Shenanigans ensue. I wish they had the courage to be even dumber than they are. The movie's highlights are when these two are bickering and struggling to figure out a way out of the mess they're in. But they're never allowed to truly be morons. They have just enough skill or luck to keep extricating themselves from the problems. But that doesn't jibe with the idiocy that lands them in the situation in the first place. I hate nitpicking dumb movies for dumb movie stuff but there's a 20 minute sequence here where Damon seems to think his psychiatrist also would be able to patch up a gunshot wound and Affleck also thinks she's a medical doctor despite nothing but therapy talk between her and Damon. They're pretty dumb! And yet, not dumb enough.
Or, alternatively, the surface-level backstories of both guys (Damon is a former Marine who can't support his kid and ex-wife, while Affleck is a big enough drunk his motorcycle is fit with a breathalyzer) hint at something that could have been a darker, more serious movie. I wouldn't want to watch that one, but it at least would have made some sense.
Full degenerate dumbasses would have been much more fun. Dark men with history would be no fun, but at least would work. What you do get is this odd mix of bumbling bits for humor and moments of what I'll calling passing character development to try to lend a little emotional weight the movie just can't support.
I know nothing about the backstory for this movie, but I have no doubt stuff like Freebie & The Bean or 48 Hrs or Midnight Run was tossed around for comparison and/or inspiration. I wish they paid more attention!
Or, alternatively, the surface-level backstories of both guys (Damon is a former Marine who can't support his kid and ex-wife, while Affleck is a big enough drunk his motorcycle is fit with a breathalyzer) hint at something that could have been a darker, more serious movie. I wouldn't want to watch that one, but it at least would have made some sense.
Full degenerate dumbasses would have been much more fun. Dark men with history would be no fun, but at least would work. What you do get is this odd mix of bumbling bits for humor and moments of what I'll calling passing character development to try to lend a little emotional weight the movie just can't support.
I know nothing about the backstory for this movie, but I have no doubt stuff like Freebie & The Bean or 48 Hrs or Midnight Run was tossed around for comparison and/or inspiration. I wish they paid more attention!
KallioWeHardlyKnewYe
Hey! We won!
- May 30, 2003
- 15,766
- 3,803
Alien: Romulus. A very welcome return to the series roots in a lot of ways (though ironically its biggest flaw is several awkward reminders to past movies). One of the coolest things about the Alien series is that it is the rare series that is a director-driven series and those directors have been able to meld their style and sensibilities to an Alien story. Fede Alvarez is a pretty damn nice fit. Slow build. Keeps you on edge. Several really excellent sequences including a climactic battle that is not just effectively set up and executed, but was something that had me saying, "Well, I genuinely don't think I've seen that before."
As I mentioned in the movie-specific thread, I'd place this fourth of the seven proper Alien movies (sorry to AvP completists). Aliens still is king to me if only for the slight fact that all Alien movies (not to mention many non-Alien movies) are basically trying to be Alien. Now Alien is the best of that bunch, but there's a lot of pretty good too. But Aliens is still the only Aliens. A rare sequel that gets better (and deeper) by going bigger. No one even tries to be Aliens because it can't be done.
Up next is Alien 3 which despite its flaws and the fact that its director disowned it still has a big spot in my heart for the look, style, cast and sheer balls of its storytelling. There are better made movies in the series, but none are as interesting as this one to me.
As I said, I'd slot Romulus next.
I truly enjoy the return of Ridley Scott for Promethus and Covenant but the injection of BIG IDEAS into the series was never something I wanted or needed. I don't dislike it, but I also don't love it the way these movie's staunchest defenders do. Not that interesting to me. It is perhaps a basic opinion, but I mostly want my Alien movies to let aliens wreck shit in increasingly tense and goopy ways. On that count, I rate Covenant ahead of Prometheus. That said Michael Fassbender is stellar in these two movies and ranks only second to Sigourney Weaver in terms of best performances in what generally is a pretty well-acted series.
Poor Resurrection brings up the rear. There is a lot I enjoy about it. I can never dislike a movie that gives me Ron Perlman and Brad Dourif. Again, I appreciate the way the series has let directors be themselves. But it's messy and a clear rung below the rest.
As I mentioned in the movie-specific thread, I'd place this fourth of the seven proper Alien movies (sorry to AvP completists). Aliens still is king to me if only for the slight fact that all Alien movies (not to mention many non-Alien movies) are basically trying to be Alien. Now Alien is the best of that bunch, but there's a lot of pretty good too. But Aliens is still the only Aliens. A rare sequel that gets better (and deeper) by going bigger. No one even tries to be Aliens because it can't be done.
Up next is Alien 3 which despite its flaws and the fact that its director disowned it still has a big spot in my heart for the look, style, cast and sheer balls of its storytelling. There are better made movies in the series, but none are as interesting as this one to me.
As I said, I'd slot Romulus next.
I truly enjoy the return of Ridley Scott for Promethus and Covenant but the injection of BIG IDEAS into the series was never something I wanted or needed. I don't dislike it, but I also don't love it the way these movie's staunchest defenders do. Not that interesting to me. It is perhaps a basic opinion, but I mostly want my Alien movies to let aliens wreck shit in increasingly tense and goopy ways. On that count, I rate Covenant ahead of Prometheus. That said Michael Fassbender is stellar in these two movies and ranks only second to Sigourney Weaver in terms of best performances in what generally is a pretty well-acted series.
Poor Resurrection brings up the rear. There is a lot I enjoy about it. I can never dislike a movie that gives me Ron Perlman and Brad Dourif. Again, I appreciate the way the series has let directors be themselves. But it's messy and a clear rung below the rest.
NyQuil
Big F$&*in Q
It just didn't feel like an Alien film. Too much Josh Whedon.
KallioWeHardlyKnewYe
Hey! We won!
- May 30, 2003
- 15,766
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I think the one thing everyone agrees on is that it is the worst movie. There's always a debate about Alien vs. Aliens and the other four are a real dealer's choice in terms of order (though I feel like Prometheus is probably the most common #3).
NyQuil
Big F$&*in Q
I have Alien 3 over Prometheus.
Alien 3 actually does a lot of things right.
KallioWeHardlyKnewYe
Hey! We won!
- May 30, 2003
- 15,766
- 3,803
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Cutting Class (1989)
This honestly could just be re-titled and released today as a parody, Just Another Gen X Movie.
Typical nihilistic Gen X high school movie, with a killer. Young Brad Pitt, Martin Mull as a Boomer dad, jeans jackets, and a fight to the death in auto shop.
Nothing really unique or complex about the plot. It is a good (generational) time capsule now. And you can see Calabasas or Santa Clarita, etc (somewhere in then developing LA County) in its late '80s era.
Streaming on Prime.
This honestly could just be re-titled and released today as a parody, Just Another Gen X Movie.
Typical nihilistic Gen X high school movie, with a killer. Young Brad Pitt, Martin Mull as a Boomer dad, jeans jackets, and a fight to the death in auto shop.
Nothing really unique or complex about the plot. It is a good (generational) time capsule now. And you can see Calabasas or Santa Clarita, etc (somewhere in then developing LA County) in its late '80s era.
Streaming on Prime.
The Grifters (dir. Stephen Frears, 1990)
The Grifters is a sleek and stylish neo-noir that delves into the seedy underworld of con artists, presenting a story that is equal parts dark, intriguing, and unsettling. Directed by Stephen Frears and based on Jim Thompson’s novel, this 1990 film offers a grim exploration of greed, betrayal, and the complex dynamics between its morally ambiguous characters.
The film follows Roy Dillon (John Cusack), a small-time grifter caught between his manipulative mother Lilly (Anjelica Huston) and his seductive girlfriend Myra (Annette Bening), both of whom have their own agendas. As the three characters navigate their twisted relationships and dangerous schemes, the lines between love, loyalty, and exploitation blur, leading to a tense and tragic conclusion.
John Cusack delivers a restrained and nuanced performance as Roy, capturing the character’s internal conflict and vulnerability. Anjelica Huston is a standout as Lilly, portraying her with a mix of cold calculation and deep-seated maternal instincts. Annette Bening’s Myra, meanwhile, exudes a mix of charm and menace, embodying the femme fatale archetype with flair.
While the performances are strong and the atmosphere is suitably dark, The Grifters sometimes struggles with pacing, occasionally dragging in its slower moments. The film’s narrative, though intriguing, can feel disjointed at times, with certain plot developments feeling underdeveloped or too reliant on coincidence. However, the sharp dialogue and well-crafted tension keep the story engaging enough to hold the viewer's attention.
Visually, the film is a treat, with its slick cinematography and period-appropriate production design evoking the noir classics of the past. The muted color palette and shadowy lighting add to the film’s moody atmosphere, complementing the bleakness of its themes.
The Grifters is a good film that offers an intriguing, if not entirely satisfying, glimpse into the world of con artists. Its strong performances, particularly from Huston and Bening, and its stylish direction make it a worthwhile watch for fans of neo-noir, even if its story doesn’t quite hit the mark.
The Grifters is a sleek and stylish neo-noir that delves into the seedy underworld of con artists, presenting a story that is equal parts dark, intriguing, and unsettling. Directed by Stephen Frears and based on Jim Thompson’s novel, this 1990 film offers a grim exploration of greed, betrayal, and the complex dynamics between its morally ambiguous characters.
The film follows Roy Dillon (John Cusack), a small-time grifter caught between his manipulative mother Lilly (Anjelica Huston) and his seductive girlfriend Myra (Annette Bening), both of whom have their own agendas. As the three characters navigate their twisted relationships and dangerous schemes, the lines between love, loyalty, and exploitation blur, leading to a tense and tragic conclusion.
John Cusack delivers a restrained and nuanced performance as Roy, capturing the character’s internal conflict and vulnerability. Anjelica Huston is a standout as Lilly, portraying her with a mix of cold calculation and deep-seated maternal instincts. Annette Bening’s Myra, meanwhile, exudes a mix of charm and menace, embodying the femme fatale archetype with flair.
While the performances are strong and the atmosphere is suitably dark, The Grifters sometimes struggles with pacing, occasionally dragging in its slower moments. The film’s narrative, though intriguing, can feel disjointed at times, with certain plot developments feeling underdeveloped or too reliant on coincidence. However, the sharp dialogue and well-crafted tension keep the story engaging enough to hold the viewer's attention.
Visually, the film is a treat, with its slick cinematography and period-appropriate production design evoking the noir classics of the past. The muted color palette and shadowy lighting add to the film’s moody atmosphere, complementing the bleakness of its themes.
The Grifters is a good film that offers an intriguing, if not entirely satisfying, glimpse into the world of con artists. Its strong performances, particularly from Huston and Bening, and its stylish direction make it a worthwhile watch for fans of neo-noir, even if its story doesn’t quite hit the mark.
Samson and Delilah (dir. Warwick Thornton, 2009)
Samson and Delilah, directed by Warwick Thornton, is a stark and intimate portrayal of life in a remote Indigenous Australian community. While the film is deeply atmospheric and powerfully raw, it is also a slow and often bleak journey that may leave some viewers feeling more lectured than moved.
The film centers on two Aboriginal teenagers, Samson (Rowan McNamara) and Delilah (Marissa Gibson), who live in a small, impoverished community in the Australian outback. Samson spends his days sniffing petrol and aimlessly wandering, while Delilah cares for her elderly grandmother. When tragedy strikes, the two teens are thrust together on a road trip that takes them from their isolated village to the harsh realities of life in the city.
Thornton’s direction is minimalist, relying heavily on visuals and ambient sounds to tell the story. Dialogue is sparse, and much of the narrative unfolds through the characters’ actions and expressions. This approach effectively conveys the sense of isolation and despair that permeates their lives, but it also requires patience from the audience, as the film’s slow pace and lack of conventional structure can feel meandering.
The performances by McNamara and Gibson are naturalistic and compelling, with both young actors conveying the pain and resilience of their characters. Their chemistry is understated but genuine, grounding the film in a sense of authenticity that adds emotional weight to their journey.
However, Samson and Delilah can be difficult to watch. Its unflinching portrayal of poverty, addiction, and violence is often harrowing, and the film’s bleak tone may leave some viewers feeling more depressed than enlightened. While it’s a bold and important work that sheds light on the struggles faced by Australia’s Indigenous communities, its relentless bleakness and slow pacing prevent it from being fully engaging.
Samson and Delilah is an ambitious and evocative film that offers a poignant glimpse into a marginalized world, but its minimalism and heavy themes make it a challenging watch. For those willing to engage with its quiet intensity, there’s much to admire, but it may not resonate with everyone.
Samson and Delilah, directed by Warwick Thornton, is a stark and intimate portrayal of life in a remote Indigenous Australian community. While the film is deeply atmospheric and powerfully raw, it is also a slow and often bleak journey that may leave some viewers feeling more lectured than moved.
The film centers on two Aboriginal teenagers, Samson (Rowan McNamara) and Delilah (Marissa Gibson), who live in a small, impoverished community in the Australian outback. Samson spends his days sniffing petrol and aimlessly wandering, while Delilah cares for her elderly grandmother. When tragedy strikes, the two teens are thrust together on a road trip that takes them from their isolated village to the harsh realities of life in the city.
Thornton’s direction is minimalist, relying heavily on visuals and ambient sounds to tell the story. Dialogue is sparse, and much of the narrative unfolds through the characters’ actions and expressions. This approach effectively conveys the sense of isolation and despair that permeates their lives, but it also requires patience from the audience, as the film’s slow pace and lack of conventional structure can feel meandering.
The performances by McNamara and Gibson are naturalistic and compelling, with both young actors conveying the pain and resilience of their characters. Their chemistry is understated but genuine, grounding the film in a sense of authenticity that adds emotional weight to their journey.
However, Samson and Delilah can be difficult to watch. Its unflinching portrayal of poverty, addiction, and violence is often harrowing, and the film’s bleak tone may leave some viewers feeling more depressed than enlightened. While it’s a bold and important work that sheds light on the struggles faced by Australia’s Indigenous communities, its relentless bleakness and slow pacing prevent it from being fully engaging.
Samson and Delilah is an ambitious and evocative film that offers a poignant glimpse into a marginalized world, but its minimalism and heavy themes make it a challenging watch. For those willing to engage with its quiet intensity, there’s much to admire, but it may not resonate with everyone.
Pranzo Oltranzista
Registered User
- Oct 18, 2017
- 3,977
- 2,894
Prometheus is now commonly third?! It used to be the "Last Jedi" of the Alien films... Second best film for me. Just saw Romulus, liked a lot of things in the first half, liked the horror-pregnancy at the end (even though I wasn't sure about the resulting failed Engineer), but there's a lot of crap in between. Not sure yet where I'll rank it, I'll need to see it again.
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KallioWeHardlyKnewYe
Hey! We won!
- May 30, 2003
- 15,766
- 3,803
My impression is fully due to the people I am surrounded by, be it actually human beings I know or writers/podcasters I read or listen to. It feels to me like Prometheus has big support now. Or perhaps it just has very vocal support. Classic reclamation of a maligned or misunderstood movie. But this is a self-selected group on my part (and FWIW also folks who largely love The Last Jedi). So it is perhaps not representative of the whole ...
NyQuil
Big F$&*in Q
A lot of people like Prometheus.
I’m afraid you’re part of the mainstream on this one.
Despite the excellent performance by Fassbender, I found it too sprawling and lacked sufficient focus.
For all of its flaws, Alien 3 has an extremely tight and claustrophobic story and setting.
Kihlaus / The Betrothed (dir. Teuvo Puro, 1922)
Teuvo Puro’s Kihlaus is a film that sadly hasn’t aged well, even by the standards of early silent cinema. Adapted from a popular Finnish play, this 1922 production struggles to translate the source material into a compelling cinematic experience. What remains is a plodding, uninspired film that fails to engage or entertain.
The story revolves around an awkward marriage proposal gone wrong, set in a rural Finnish village. While the premise might have worked well on stage, where character interactions and dialogue could carry the comedy, Kihlaus on film feels flat and lifeless. The humor, which likely relied heavily on the nuances of Finnish language and culture, does not translate well into the silent film format. The result is a series of stilted, overly theatrical performances that lack the dynamism needed to bring the story to life.
Visually, the film offers little to compensate for its narrative shortcomings. The static camera work and uninspired composition make Kihlaus feel more like a filmed stage play than a work of cinema. There is little of the creativity or innovation that other directors of the silent era were bringing to their projects. Without the benefit of strong visual storytelling, the film quickly becomes tedious.
The pacing is another issue. At a mere 40 minutes (minus some missing scenes that have been lost), Kihlaus feels longer than it is due to its repetitive and uneventful scenes. The lack of character development or dramatic tension leaves little for the viewer to latch onto, making it a slog to get through even in its short runtime.
Kihlaus is a disappointing and forgettable entry in early Finnish cinema. While it may hold some historical value, it fails to offer any of the creativity, emotion, or technical prowess that define more enduring works from the silent film era. For most viewers, this is one to skip.
However, for those interested (or in Finnish film in general), the film is viewable on here on Elonet, provided by the Finnish National Audiovisual Institute.
Got my TIFF tickets. Not a great year in my opinion, so I am only going to six movies
Caught by the Tides (Jia Zhang-ke--I try to see everything he does)
All We Imagine As Light (Cannes Grand Prix Winner)
Grand Tour (Cannes best director winner--Miquel Gomes)
Harbin (South Korean historical drama)
Paying for It (Canadian movie set in Toronto)
Else (about characters who melt into their surroundings)
Everything else I want to see, especially the other Cannes winners, will be playing in Toronto soon anyway,
Caught by the Tides (Jia Zhang-ke--I try to see everything he does)
All We Imagine As Light (Cannes Grand Prix Winner)
Grand Tour (Cannes best director winner--Miquel Gomes)
Harbin (South Korean historical drama)
Paying for It (Canadian movie set in Toronto)
Else (about characters who melt into their surroundings)
Everything else I want to see, especially the other Cannes winners, will be playing in Toronto soon anyway,
Pranzo Oltranzista
Registered User
- Oct 18, 2017
- 3,977
- 2,894
I’m afraid you’re part of the mainstream on this one.
.oO(Noooooooo!!!)Yeah, I put off buying my TIFF tickets this year due to the available selection and the cost. I'll just wait until word of mouth on stuff, and when I'm available to see films
Ceremony
How I choose to feel is how I am
- Jun 8, 2012
- 114,216
- 17,227
Old (2021) Is this a bad film made well or a good film made badly or a bad film made badly? I can't tell. It's weird and I think it could have been a much better kind of weird if it wasn't made by someone who had to shoehorn in really contrived explanations for what was going on.
The Thing (1982) (Watched twice) Maybe I just noticed the second time but nobody seemed... scared. If this was made now there'd be one guy sat rocking in the corner, gibbering and screaming a lot. Good special effects. Good location. Could have been scarier.
The World is Not Enough (1999) This is really, really, really stupid.
Aftersun (2022) (Watched twice) Woman watches holiday video from her youth. Sad. Good. I somehow went back too late and too soon for my second viewing.
The Thing (1982) (Watched twice) Maybe I just noticed the second time but nobody seemed... scared. If this was made now there'd be one guy sat rocking in the corner, gibbering and screaming a lot. Good special effects. Good location. Could have been scarier.
The World is Not Enough (1999) This is really, really, really stupid.
Aftersun (2022) (Watched twice) Woman watches holiday video from her youth. Sad. Good. I somehow went back too late and too soon for my second viewing.
Alien is a legit 10/10 movie
Aliens is a 9.5/10
Romulus is a 9/10 imo (I’m a Fede mark)
Then my order after is
Prometheus
Alien 3
Resurrection
Covenant
I’ve never really disliked an Alien movie though. I just like more than others. I’ve never left an Alien movie thinking “wow what a pile of dog shit” like i did with The Strangers Chapter One, the worst movie of 2024
Aliens is a 9.5/10
Romulus is a 9/10 imo (I’m a Fede mark)
Then my order after is
Prometheus
Alien 3
Resurrection
Covenant
I’ve never really disliked an Alien movie though. I just like more than others. I’ve never left an Alien movie thinking “wow what a pile of dog shit” like i did with The Strangers Chapter One, the worst movie of 2024
Bahama Mama
Sunny days
Never saw or even heard of this movie and it was watchable. Somewhat predictable but it was worth seeing regardless. Read some reviews afterwards and many did not like it, they thought it was way too complicated and confusing, it wasn't. Could be that they are the ones that watch like Naked and Afraid, Big Brother and other ridiculous reality type shows that are catered to the imbeciles of the world.
Skateboard: the Movie (1978)
This is a great dose of early skating culture.. banana boards in emptied-out pools.
A down-on-his-luck, indebted lowlife comes up with the idea of a performing skate team. He recruits some local skaters (including a young Tony Alva), gets a Partridge Family short bus.. and they hit the road.. performing and competing to collect prize money, so their newfound manager can pay off a loan shark.
Some good skating scenes, and nostalgic fashion. Not bad..
This is a great dose of early skating culture.. banana boards in emptied-out pools.
A down-on-his-luck, indebted lowlife comes up with the idea of a performing skate team. He recruits some local skaters (including a young Tony Alva), gets a Partridge Family short bus.. and they hit the road.. performing and competing to collect prize money, so their newfound manager can pay off a loan shark.
Some good skating scenes, and nostalgic fashion. Not bad..
JackSlater
Registered User
- Apr 27, 2010
- 19,187
- 14,471
A few others I watched fairly recently
Sophie' Choice (1982) - 5/10 I went in with a general misunderstanding of the movie, which is not the move's fault. Streep and Kline are good, which is why I considered a 6/10. It wasn't really that interesting to me and I don't know if the flashbacks really worked for me in terms of how they were used.
Killers of the Flower Moon (2023) - 3/10 I'm really coming to think that Scorsese after Goodfellas just isn't very good. This movie badly needs editing, regardless of Scorsese's stature. Should have been at least an hour shorter. I didn't find the acting very good. Shot pretty well, though nothing really memorable either. The decision to focus on DiCaprio's character and present him and his marriage the way the movie did completely sunk any chance this movie had to be good. Completely incoherent decision, and reading about Scorsese's explanation of it does not justify it. Part of the issue for me is that I have read the book and the book presents a much better way to tell the story, which was the way Scorsese initially set out to tell the story and what DiCaprio initially signed on for.
The General (1926) - 6/10 Not the kind of thing I'd seek out often but it works for its whole duration. Looks good and while I don't find it funny, Keaton's physical work is impressive.
The Piano Teacher (2001) - 7/10 Builds up as most Haneke movies do, certainly uncomfortable for basically the whole duration. Quite well done, considered going with an 8 because the last 20 minutes in particular were really good in my eyes. Pretty unique movie, at least in my viewing experience.
Sophie' Choice (1982) - 5/10 I went in with a general misunderstanding of the movie, which is not the move's fault. Streep and Kline are good, which is why I considered a 6/10. It wasn't really that interesting to me and I don't know if the flashbacks really worked for me in terms of how they were used.
Killers of the Flower Moon (2023) - 3/10 I'm really coming to think that Scorsese after Goodfellas just isn't very good. This movie badly needs editing, regardless of Scorsese's stature. Should have been at least an hour shorter. I didn't find the acting very good. Shot pretty well, though nothing really memorable either. The decision to focus on DiCaprio's character and present him and his marriage the way the movie did completely sunk any chance this movie had to be good. Completely incoherent decision, and reading about Scorsese's explanation of it does not justify it. Part of the issue for me is that I have read the book and the book presents a much better way to tell the story, which was the way Scorsese initially set out to tell the story and what DiCaprio initially signed on for.
The General (1926) - 6/10 Not the kind of thing I'd seek out often but it works for its whole duration. Looks good and while I don't find it funny, Keaton's physical work is impressive.
The Piano Teacher (2001) - 7/10 Builds up as most Haneke movies do, certainly uncomfortable for basically the whole duration. Quite well done, considered going with an 8 because the last 20 minutes in particular were really good in my eyes. Pretty unique movie, at least in my viewing experience.
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