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

[ProstheticConscience]

The Clovehitch Killer

with people

My backyard posing as Bible belt Kentucky USA. Small town family with Scoutmaster dad at the helm in a small town that every year holds a memorial service for victims of a local serial killer who was never caught. Teenage son Tyler boosts his dad's truck one night for a Kentucky make-out session, but the girl finds a folded-up bondage porn photo by the seat. There goes the mood, and the next day all the kiddies are talking about perv Tyler. But Tyler's dad of course looms large with serial killer vibes radiating out from him like sonar pulses with every step he takes. Will Ty and the designated quirky chick who doesn't go to church and has a private obsession with the killer get their man? Watch and say yeah, this is familiar. And get creeped out.

This is a thing that exists, Scared teenage kid puts in not a bad performance. Mood was creepy, but doesn't really make that much of an impression other than that, really. Plods along predictably.

On Netflix. Meh.

*Click here for more filthy backstage V for Vendetta XXX jpegs........*

 

[Osprey]

Moonfall (2022) - 4/10 (Disliked it)

A hastily assembled team (Patrick Wilson, Halle Berry, John Bradley) is sent into space to detonate a bomb inside the Moon before it crashes into and destroys the Earth. If you're thinking that that was the plot of Armageddon, you couldn't be more wrong, since that was an asteroid and this is the Moon. Also, Armageddon was more plausible. If there's one thing that Roland Emmerich films will never be accused of, though, it's being plausible. This one starts with an astronaut who, while in space, witnesses something large coming out of the Moon, but no one at NASA believes him because it's not like they can see the Moon for themselves or watch his helmet cam footage. Then, there's a fast food worker who does amateur astronomy on the side and somehow notices that the Moon is out of its orbit before even NASA, but no one believes him, strangely enough. Most of the first half of the movie felt like things that I'd seen before in other sci-fi/environmental disaster films. At least the second half is slightly more original and interesting, but that's mostly because the plot gets crazier than most movies. The main actors do the best that they can with the terrible story and dialogue. Halle Berry, especially, tries to elevate it and seemed a little too good for her part and this movie. John Bradley (Samwell Tarly from Game of Thrones) is likable enough. There's a boring subplot with less interesting, mostly younger characters trying to escape the destruction on Earth that felt tacked on for added drama and demographic appeal (including Chinese market appeal). There's a little bit of humor (that I didn't find that funny), but the tone is mostly serious. That suits the end-of-the-world stakes, but not the ridiculousness of the plot, so I couldn't help but laugh at how seriously the movie seemed to be taking itself. As such, it isn't fun enough to be very entertaining and the plot is far too silly and thin to be thoughtful sci-fi. It does have blockbuster levels of CGI, though, especially CGI destruction. We're talking 100-foot tsunamis, chunks of Moon raining down, cities being demolished, vehicles flying through the air, satellites being destroyed and more. It delivers the eye candy, but not much else. It's available for rent if you'd care to see something that feels largely recycled from previous disaster films.

 

[Mr Jiggyfly]

Castaway (2000) -

I’ve been on an early 2000’s blockbusters kick lately and caught Castaway for the first time in like 20 years.

This was kind of a special moment for me…

The last time I saw this movie I was just a young dude-bro who lived for hockey and myself.

Last night I threw on Castaway and my 11 year old daughter came down about 30 mins in and I caught her up on the details. She was intrigued and she sat and watched the rest of the movie with me.

When Wilson got lost at sea my daughter started to get emotional and then the water faucets opened up.

I was trying not to laugh, but couldn’t help it and she slapped my arm and started laughing to.

Just one of those unforgettable moments I’ll always cherish and we now have another inside joke…

 

[kingsfan28]

Been catching up on all the 31 days of Oscar on TCM I recorded:

2001: A Space Odyssey ️️️️
Lawrence of Arabia️️️️
Planet of the Apes️️️️
Logans Run️️️
Bullit️️️️
Casablanca️️️️
The Bridge on the River Kwai️️️️
It Happened one Night️️️
Gone with the Wind️️️
Stagecoach️️️️
The Time Machine️️️

 

[kihei]

Love after Love (2019) Directed by Ann Hui 5A

Weilong, an innocent waif, turns up on the doorstep of her rich aunt hoping that she will provide for Weilong’s education and upkeep after her father refuses to do so. So not exactly enthusiastically, the rich aunt, Madame Liang, accepts Weilong into her lavish household. In these posh surroundings, various forms of sexual gamesmanship seem to be the order of the day as a vast number of pretty girls and handsome young men float through the premises trying to secure favour of one kind or another. There is even a generous sugar-daddy, referred to, not exactly originally, as Uncle, who is willing to do Madame Liang’s bidding in exchange for the odd flirtation. Though it looks like a brothel, walks like a brothel and quacks like a brothel, Madame Laing’s estate ain’t no brothel. It’s just a bunch of rich people in pre-war Hong Kong trying to amuse themselves. Auntie is drop-dead beautiful, and something of a schemer, not that much ever comes of it. What looks like it might become an interesting exploration of the Asian version of F. Scott Fitzgerald’s Lost Generation eventually devolves into a standard sweet-girl-falls-for-wrong-guy love story in which Weilong loses her heart to Georgi, who at least has the good grace to try to dissuade her. The two live unhappily ever after or maybe it's just for a couple of years, a few months, or even weeks. Hard to care, really. Gorgeous cinematography by Wong Kar Wai’s cinematographer Christopher Doyle gives the film the right feel of languid sensuality, but the characters seem like the kind of creations that one only meets at the movies. Love after Love is watchable, even sumptuous romantic melodrama, but it is a long, long way from director Ann Hui’s best work such as A Simple Life; Boat People; Summer Snow; and Song of the Exile.

subtitles

MUBI

 

[ItsFineImFine]

What Do We See When We Look at the Sky? (2021) - 7.5/10

Charming Georgian film with a very good premise. Its director tbh is more interested in showing off life and the humans in its Georgian (country not state) city than rather than exploring the plot. Actors that are charmging despite few lines or dialogue. My basic North American brain doesn't fully appreciate it because my brain keeps wanting the storyline to move forward and for more to happen but the director is taking it slow and showing the scenery (it's a 1.5 hour film turned into 2.5 hours).


Now who's got a good Khachapuri recipe?

 

[Puck]

The Adam Project - I'm not going to spend a lot of time reviewing this, it has it's own thread elsewhere. This isn't a sci-fi blockbuster, but it's actually quite fun and entertaining popcorn flick. It's on Netflix so go take a look if you have not already. Many may be tired of Ryan Reynolds always playing the same character in all his films. He is the same wise-cracking guy here too but the repetition is not that bad here. The action scenes and comedy are well balanced. The plotline has holes but it's easily forgiven.

Death on the Nile - not as good as Ken Branagh's last murder mystery, Murder on the Orient Express. Perhaps he was distracted by the making of Belfast at the time. It's a bit long, an hour in and there is still no murder. Most characters aren't well developed so you don't really care who else dies. The one interesting thing they did was tweaking the story to diversify the cast. The spotlight in the film is all on Poirot though, as he uncovers the culprit(s). The film is ok but overall a bit disappointed. I hope the sequel to the new Knives Out does not go the way of Branagh's Agatha Christie series.

 

[nameless1]

Love after Love (2019) Directed by Ann Hui 5A

Weilong, an innocent waif, turns up on the doorstep of her rich aunt hoping that she will provide for Weilong’s education and upkeep after her father refuses to do so. So not exactly enthusiastically, the rich aunt, Madame Liang, accepts Weilong into her lavish household. In these posh surroundings, various forms of sexual gamesmanship seem to be the order of the day as a vast number of pretty girls and handsome young men float through the premises trying to secure favour of one kind or another. There is even a generous sugar-daddy, referred to, not exactly originally, as Uncle, who is willing to do Madame Liang’s bidding in exchange for the odd flirtation. Though it looks like a brothel, walks like a brothel and quacks like a brothel, Madame Laing’s estate ain’t no brothel. It’s just a bunch of rich people in pre-war Hong Kong trying to amuse themselves. Auntie is drop-dead beautiful, and something of a schemer, not that much ever comes of it. What looks like it might become an interesting exploration of the Asian version of F. Scott Fitzgerald’s Lost Generation eventually devolves into a standard sweet-girl-falls-for-wrong-guy love story in which Weilong loses her heart to Georgi, who at least has the good grace to try to dissuade her. The two live unhappily ever after or maybe it's just for a couple of years, a few months, or even weeks. Hard to care, really. Gorgeous cinematography by Wong Kar Wai’s cinematographer Christopher Doyle gives the film the right feel of languid sensuality, but the characters seem like the kind of creations that one only meets at the movies. Love after Love is watchable, even sumptuous romantic melodrama, but it is a long, long way from director Ann Hui’s best work such as A Simple Life; Boat People; Summer Snow; and Song of the Exile.

subtitles

MUBI

I love Ann Hui, but I find her to be very inconsistent. She will churn out a great film, and then follow up with a dud. Early on in her career it was to make a living, but nowadays, it seems like she wants to experiment and try something new. I can respect that, and maybe she should be applauded, because she is 74 now, and her passion never waned.

 

[KallioWeHardlyKnewYe]

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.

I reviewed this years and years ago. I enjoyed its off-beat nature and thought Victor and Liz had wonderful chemistry, too. Kind of surprised you found it as it seems like one of those good little movies that can slip beneath the waves very quickly.

I was intrigued so I sought it out as well. Not to be too repetitive but I thought it was a pretty fast-paced good time too. A good "night from hell" sorta movie where our hero's desperate need for money throws him into a situation far above his head. I think what impressed me the most (aside from the adorable chemistry between Victor and Liz) was how well it quickly establishes about 10 characters, their motivations and the key plot lines in about a 10-15 minute opening before it's off to the races with the boxes, cell phones and wads of money constantly shifting between various hands.

My one complaint is that the tone shifts just slightly in the last 15 minutes or so and it didn't totally work for me. It's not that it isn't earned -- the setting is well established as a dangerous place. But the villainous characters for the most part were played for laughs or with at least a grounding of sympathy. It's mostly light, then gets tragic, then kinda finishes on an up note again. I was a little disoriented from that jerking around.

 

[KallioWeHardlyKnewYe]

John Carpenter's Vampires. I remember being pretty disappointed by this when it first came out, but on rewatch it's really not bad. Still not as great as I feel like it could have been, but Carpenter's core competence alone is enough to bring it at least slightly above average. Could've been much worse in lesser hands. James Woods' snarky, perpetually agitated protagonist is a plus too. I still feel, as I did then, that a prequel about the vampire hunters may have been a more entertaining movie than this, but this is ok. Some nice little touches with their crazy gear and the Western vibe. The story itself is good enough goofy fun (part of why a lot of this feels like a missed opportunity). A few solid sequences though there also are few that fall flat for me (the hotel attack just feels very shoddy). I don't know what the budget situation was on this, but you kinda feel the movie bumping up on those limitations. Some of the other cast members drag it down.

 

[Pranzo Oltranzista]

John Carpenter's Vampires. I remember being pretty disappointed by this when it first came out, but on rewatch it's really not bad. Still not as great as I feel like it could have been, but Carpenter's core competence alone is enough to bring it at least slightly above average. Could've been much worse in lesser hands. James Woods' snarky, perpetually agitated protagonist is a plus too. I still feel, as I did then, that a prequel about the vampire hunters may have been a more entertaining movie than this, but this is ok. Some nice little touches with their crazy gear and the Western vibe. The story itself is good enough goofy fun (part of why a lot of this feels like a missed opportunity). A few solid sequences though there also are few that fall flat for me (the hotel attack just feels very shoddy). I don't know what the budget situation was on this, but you kinda feel the movie bumping up on those limitations. Some of the other cast members drag it down.

I've weirdly never seen it. Always thought it looked terrible.

 

[KallioWeHardlyKnewYe]

I've weirdly never seen it. Always thought it looked terrible.

I'm in the bag for Carpenter so I may be too kind. Wouldn't push back on anyone who thinks it is hot trash though.

 

[Osprey]

Harakiri (1962) - 8/10

A downcast samurai (Tatsuya Nakadai) asks a local clan for permission to commit suicide in its courtyard, but first has them listen to his story. The structure and setting reminded me of Rashomon because much of the story is told via flashback in front of a court of sorts. It's also slow paced, heavy on dialogue and light on action, not that I minded at all. I absolutely loved the first act, in which the mystery unfolds and there are several twists. The middle act was a little less compelling because the samurai's story had a foreseeable conclusion, but the last act was satisfying. I loved the overall storytelling and was eager to see what unfolded. I also really liked that it subverts the usual theme of honor in samurai pictures by suggesting that honor is often just a façade to avoid embarrassment. It's darker and more critical of samurai ways than most films in the genre. The ending puts an exclamation point on that. Overall, this was a treat that I wish that I hadn't overlooked for so long. It's considered one of the best samurai films ever made, so I'm not sure how I overlooked it, but Masaki Kobayashi's film didn't disappoint.

---

Hara-Kiri: Death of a Samurai (2011) - 5/10

This remake of the above film is well made and director Takashi Miike is quite respectful of it by keeping the same tone, pace, themes and even camera angles. Unfortunately, that led to me being a little bored by it because I watched the original the night before and the similarities meant that very little was surprising or different. I counted two small changes that I thought added to the story, but most of the changes were not improvements. The original does just about everything better, but, if I hadn't seen that first, I probably would've liked this a lot more. It's a fairly good remake, but also a very unnecessary one. The only thing that it has over the original is color... oh, and 3D. Apparently, this was released in 3D in order to add a whole new dimension to people sitting and talking.

 

[kihei]

After Love (2021) Directed by Aleem Khan 7A

Okay, so this is going to overstate the case a bit: melodrama is to drama what bathroom humour is to humour. Both can be done well, but the successful instances are so few and far between that they are hardly worth mentioning. Melodrama usually implies a lowest common denominator approach to the audience's emotions, a going-out-of-the-way effort to tug shamelessly at the viewers' heartstrings. Ersatz emotions are ready-made and provided free of charge, free of even genuine involvement. After Love is a melodrama, but it is an exceedingly good example of the breed, one that stays totally away from the excesses of the genre.

Now a devout Muslim, Mary (Joanna Scanlan) is a middlle-aged-woman, plain, overweight, the antithesis of glamourous, who has long ago converted to Islam to marry her husband Soloman, a ferry boat captain who sails between Dover and Calais. For over twenty years, Mary and Solomon have shared a long and loving life together. When Solomon dies suddenly, Mary discovers to her dismay that he actually had a second family in France. She makes the crossing to Calais to confront her rival Genevieve who thinks Mary is a cleaning woman whom she has hired over the phone. Mary goes along with this ruse, and gets to know Solomon's second family. Naturally things get complicated.

Unless you are British and possess a taste for BBC comedies, you have undoubtedly never heard of Joanna Scanlan. But she won the BAFTA award this year for best actress over far more famous colleagues, and her portrayal of Mary is certainly the best performance by an actress that I saw last year by some margin. Many of the complications in After Love are predictable--that is the nature of melodrama. However, Tackling a rare serious role, Scanlan invests her character with such humanity and dignity that Mary's concerns seem fully believable and consequential. It helps immensely that first time director Aleem Khan uses a subtle touch throughout the movie, never overstating an emotion or relying on cheap effects. After Love becomes a rather unexcpected suspense film, filled with different kinds of tension. Ultimately, however, the film is a compelling study of one woman's abililty to adjust to the unfathomable. After Life is one of the most entertaining films of the past year that nobody on this side of the Atlantic has seen or likely even heard of.

 

[Pranzo Oltranzista]

8 Mile (Hanson, 2002) - I have great respect for Eminem, but for some reason stayed away from this movie. A lot more down-to-heart than I thought it'd be, with characters that are pretty dumb and hard to follow. Not bad. 4.5/10

Something Borrowed (Greenfield, 2011) - New deal with the gf where she will select a movie/week or so. Absolute garbage. 1.5/10

 

[Spring in Fialta]

Chungking Express (1994) - My first time seeing it on the big screen. I got warnings beforge the viewing that Kar-Wai had f***ed with the coloring/ratio of some of his movies for criterion but I didn't notice. But good lord, how perfectly fast and loose is this movie? I can throw dice slower than this movie moves and pinpoints its story. While it sinks a couple of things - I didn't particularly love Tony Leung's schtick with inanimate object - it's incredible how enthralling the piece is, with the perfect pace to match the ephemeral spirit of its stories. This is a fun piece because you always walk out with new opinions after indulging it again. Mine is this: Brigitte Lin has the best performance of the film. She has the least dialogue from the main characters but is the one, IMO, who matches the film's cool factor the most, even if her spirit is the most antithetical.

Credit to Kar-Wai, everything bounces off each other with the perfect cadence: 90 minutes, two stories, 4-6 songs that keep coming back. A better example of think fast, act fast than something like Kerouac's pretensions. I like some of Kar-Wai's other films better but Chungking might be the most candy-like to the palette. Even the simple BBQ pork and rice 663 orders appears mouth-watering. Let alone its cinematic aesthetics.

 

[Osprey]

The Narrow Margin (1952) - 7/10

A police detective (Charles McGraw) must protect a mob widow (Marie Windsor) from hitmen on a train ride from Chicago to Los Angeles so that she can testify. I've always liked 1990's Narrow Margin with Gene Hackman and Anne Archer, so I was excited to learn recently that it was a remake of this film noir 'B' picture. McGraw plays a gruff, no-nonsense detective with more hair than Hackman. The story has some good suspense as he tries to evade and fool the hitmen following them. 80% of the film is set on the train and it felt believable, with near-constant train noises (in place of a soundtrack), subtle lighting changes as objects pass by windows and cramped compartments. In fact, I was impressed that they got some of the shots that they did, considering the size of cameras back then. It's well paced and shows what can be done with a small budget, no-name stars and a simple but good script in the hands of a talented director. Only a couple of years after proving himself on this 'B' picture, Richard Fleischer directed the much bigger budgeted 20,000 Leagues Under the Sea.

---

Niagara (1953) - 7/10

On a weekend vacation to Niagara Falls, a Marilyn Monroe type (Marilyn Monroe) plots to get rid of her jealous husband (Joseph Cotten). The whole film takes place around the falls, at tourist sites and in and near the water, on the Canadian side of the border. It's stunning to look at because it was filmed on location in Technicolor. It's a film noir, but in color, so it feels a little different than most, and especially like a whole different era than the above film, which was released only the year before. It reminded me a little of Basic Instinct, which is also a neo-noir about a knockout knocking off her lover. Marilyn's acting is a little better than I was expecting, but she's on screen mostly for eye candy and her bright red lipstick is always perfect, even after showering and sleeping with it on, which was a bit amusing. One of the reviews in 1953 wrote that the film showcased two of the natural wonders of the world: Niagara Falls and Marilyn Monroe. For my money, though, I'll take Jean Peters (the other actress in this film) over her on looks and acting talent any day. Cotten gives the best performance of the bunch as the paranoid husband, but the real star of the picture has to be the scenery (and I don't mean Marilyn). Niagara Falls makes for a fantastic setting (especially for a murder, since it's a romantic destination) and one that I imagine that even Hitchcock might've been envious of. It's really used to its fullest, too, with a variety of nearby locations and the use of Technicolor, as I mentioned. I liked the story, but loved the setting and cinematography.

 

[Chili]

Niagara (1953) - 7/10

On a weekend vacation to Niagara Falls, a Marilyn Monroe type (Marilyn Monroe) plots to get rid of her jealous husband (Joseph Cotten). The whole film takes place around the falls, at tourist sites and in and near the water, on the Canadian side of the border. It's stunning to look at because it was filmed on location in Technicolor. It's a film noir, but in color, so it feels a little different than most, and especially like a whole different era than the above film, which was released only the year before. It reminded me a little of Basic Instinct, which is also a neo-noir about a knockout knocking off her lover. Marilyn's acting is a little better than I was expecting, but she's on screen mostly for eye candy and her bright red lipstick is always perfect, even after showering and sleeping with it on, which was a bit amusing. One of the reviews in 1953 wrote that the film showcased two of the natural wonders of the world: Niagara Falls and Marilyn Monroe. For my money, though, I'll take Jean Peters (the other actress in this film) over her on looks and acting talent any day. Cotten gives the best performance of the bunch as the paranoid husband, but the real star of the picture has to be the scenery (and I don't mean Marilyn). Niagara Falls makes for a fantastic setting (especially for a murder, since it's known as a honeymoon destination) and one that I imagine that even Hitchcock might've been envious of. It's really used to its fullest, too, with the variety of nearby locations and the use of Technicolor. I liked the story, but loved the setting and cinematography and enjoyed the film overall more than I expected to.

A favorite of mine. Memorable climax but the star of the film is the Falls. Such a beautiful area in the summer, many orchards, used to like to go at harvest time. Standing close to the Falls and feeling the sheer power of the water is an experience.

 

[Sentinel]

Nightmare Alley (2021). 6/10 A curious mix of finds and cliches. Several times I predicted the next remark to a “t.” A long and beautiful tale of a man’s rise and downfall in the 1930s-40s freak circus. I like Bradley Cooper but he is clearly punching above his weight here (Christian Bale would be better in this role but then again, this film is already too much like The Prestige). I love Cate Blanchett but she is criminally limited here. Rooney Mara OTOH is exactly what her part demands. Beautiful stage designs and cinematography but the camera movement is identical the whole time. Even though I was never bored, it feels like a serious step down from The Shape of Water, which, in turn, was a serious step down from Pan’s Labyrinth. Guillermo Del Toro better reverse this trend.

Postcards from the Edge (1990). 6/10 A troubled actress Meryl Streep is the daughter of troubled actress Shirley MacLaine. There are also Dennis Quade, Gene Hackman, Richard Dreyfuss, and Rob Reiner. While the story is not exactly relatable or overly engaging, the dialogue and the humor are good, and the acting is predictably superb. Treat this movie as the passing of the torch from one Hollywood legend to another. Critics loved it, audiences – not so much.

House of Gucci (2021). 6/10 Audiences loved it, critics – not so much. An outsider marries into a fashion powerhouse, and all kinds of conflicts ensue. TBH I expected more from Ridley Scott but then again: he hasn’t blown me away since The Gladiator. The movie drags a lot longer than it should. The story is simply not compelling enough to keep your interest for 2h37m (see Scott’s recent The Last Duel with exactly the same problem). Just like in The Last Duel, Adam Driver is not charismatic enough to justify excessive screen time. You know who is charismatic enough? Lady Gaga. She is fantastic here, and, no, I don’t like her music. She is convincing and electrifying. Hell, she even outshines the demonstrably aged Al Pacino and absolutely god-awful Jared Leto (a total disaster of a performance). I wish that the process of her slipping into the dark zone of revenge was depicted better: “a woman scorned” plotline deserves more attention than it received. Overall, worth watching for the Lady Gucci performance alone, but you may want to keep your cell phone nearby, in case you want to check your social media.

 

[sr edler]

Valentino (1977) by Ken Russell – 4/10

Apparently both the director and one of the producers of this film hated it, and the director said he regretted making it. I didn't think it was that bad myself though. I've certainly seen worse films. It wasn't unwatchable, though parts of it were certainly annoying. The first 50 or so minutes were actually pretty good, at least in parts, in storytelling technique, cinematography and dance numbers.

There was also some dark humor in there, in the first half of the film. For instance, in one scene the title character and his female acting companion are on set talking about the "big rape scene" for tomorrow, and then in the next scene it cuts to a packed theatre with an all-female audience gushing over said scene, because it's Rudolph Valentino.

In the second half though, it doesn't get anywhere, and drags on painfully to a pretty dumb ending.

A lot of over the top stuff in this film, like this type of stuff

 

[OzzyFan]

We Need to Talk About Kevin (2012)
3.00 out of 4stars

"Eva is a travel writer/publisher who gives up her beloved freedom and bohemian lifestyle to have a child with her husband, even though pregnancy does not seem to agree with Eva. Eva gives birth to a baby boy named Kevin, whom she can't seem to bond with him. When Kevin grows from a fussy and demanding toddler into a sociopathic teen, Eva is forced to deal with the aftermath of her son's horrific act."
A great psychological drama horror about nature versus nurture and where the guilt of early adolescent aged 'children's' actions lie. Swinton leads a great acting ensemble in this movie appearedly about parenting influence, shown with her in the present as most of the movie unfolds as a linear flashback. Nature versus nurture here feels a bit like a paradox, for when parents raise a child that already has their genetic predisposition and is taught in that same manner, inherent qualities are reinforced. Parents can also see traits they don't like in themselves through their own children, and then it becomes their responsibility to try and 'correct' these 'negative' characteristics or let them be given how they decided to parent and educate. Leading to a discussion of fate versus neglect. Ultimately, this movie shows that parents are supremely responsible for what their children do and the results of it up to a certain age. Incorrectly teaching/reinforcing and indifference to sociopathic, bullying, and violent behaviors is a parent's failure of parenting and not always genetic predisposition based either. Whether necessary on a small or extreme scale (here likely called for closer to an extreme scale) condemnation, correction, and/or various disciplines and interventions are needed. Nature versus nurture doesn't matter in the end, because parents have the power and responsibility to prevent or allow their child the capability to do or not do anything to a vast extent, and in extreme cases they need to do anything and everything they can to prevent serious self or external harm (and preferably step in early on when warning signs or actions come up). I hope none of this interpretation came off as rambly or ranting, it feels a bit odd or off when I reread it.

Faults (2014)
2.75 out of 4stars

"A cult deprogrammer past his peak is encounters formidable challenges when he is hired by a couple to deprogram their strong-willed cultist daughter."
A good psychological drama with a bit of dark comedy elements about the individuals that are involved with cults. This is one of those movies that is best to hear as little to nothing about going in or the experience will be diminished. Some interesting commentary here on manipulation/brainwashing, manipulators, and manipulatees which includes frailty, gullibility, and power dynamics. The story builds entertainingly smart to a climactic finish.

Midsommar (2019)
2.70 out of 4stars

"Dysfunctional couple Dani and Christian travel to a remote pastoral village of Sweden with a group of friends for a midsummer festival, only to find themselves in the clutches of a Scandinavian pagan cult."
A good pagan cult horror with just enough weird disturbing material. I loved Aster's first movie, Hereditary, which brought near non-stop over the top dread, creepiness, and disturbance alongside a skeletons in the closet dysfunctional family story. And I mean that statement in the best way possible. This movie brings all of that to a lesser degree, minus the energy and replace the dysfunctional family element with a dysfunctional relationship. The pacing here is a lot more casual and the troubled relationship/grief elements here don't work as effectively. But still, there are some off the wall memorable scenes and imagery here that hit all the right spots. I loved more and more as we learned about the oddness of the cult's traditions and history, I wished more time was focused on that instead of the visitors. It's a mostly fun long ride. Feels like it drags a bit in spots over it's 2hours and 28minutes runtime (director's cut is 2hours and 51minutes!), which I'd argue is from some slow pacing and some under-interesting/underwritten side stories.

Ambulance (2022)
2.55 out of 4stars

"A decorated veteran desperate for money to cover his wife's medical bills, asks for help from his adoptive brother Danny, a career criminal, who gets him involved in a bank heist. Stuff goes sideways and the 2 brothers find themselves in a high-speed pursuit after hi-jacking an ambulance with an EMT and a recently shot critically conditioned cop on board."
A guilty pleasure, damn good action thriller from Michael Bay. Here with a lower than usual budget ($40million) and a rather basic robbery plot, Bay does his sort of magic with game actors on board. From 30minutes on till the end, it's a near non-stop adrenaline pumping ride with some impressive peaks. Stuffed full of his patented orchestrated chaos of mise en scene, in and out and all around camera angles, and tight editing. Say what you want about Bay, but he isn't stupid and definitely has a purpose with profitability in the movie making industry, or as he puts it " (he) makes movies for the audience/that audiences like".

 

[Chili]

Gran Torino-2008

Retired auto worker & Korean war veteran Walt Kowalski (Clint Eastwood)'s wife has just passed away. Walt doesn't really like anyone beyond his dog. He doesn't appreciate the local priest coming around to check up on him, his son & daughter in law who visit him on his birthday (he throws them out) or his neighbours. He's also pretty sick. Good human story here, Clint not taking any guff but still a different role from his other tough guy films. The car is a curio as don't recall Walt driving it in the film, just what looks like the same pickup truck as Bridges of Madison County. The car is Walt's pride because he built it himself. Some violence but a good film. Very little music which was just right.

Bojangles-2000

Biopic of Bill Bojangles Robinson, tap dancer, entertainer. Read the book the film is based on. His career and flaws are well depicted. An idea of his popularity, for his funeral procession over 500k lined the streets of NY City (pictured above). Gregory Hines is great as Bojangles, he was 55 when he made the film and his dancing is the highlight (he would pass away of cancer within a couple of years). There is a nice split screen shot at the end of the film showing Gregory Hines and Bojangles performing his trademark staircase dance. Enjoyed it.

Rope of Sand-1949

Somewhere in the prohibited desert zone there are diamonds. One man knows where they are but would not previously tell where under torture. Now, two years later, he has returned to the area. Different type of noir, with the desert scenes. Great cast including three from Casablanca (Claude Rains, Peter Lorre & Paul Henreid). Interesting tale, enjoyed it. Youtube.

 

[Puck]

Kihei brought up The Man Who Fell to Earth on Kallio's "What movies have you changed your mind on?" . Will post it here that starting April 24th, there is a new Showtime series with Chiwetel Ejiofor. It's not a film though and not sure how closely the series script will follow the original. Just thought some might be curious to check it out.
The Man Who Fell to Earth (TV Series 2022– ) - IMDb

I guess I'm the CODA guy now There is another French film along the same lines (hearing handicap). Hear Me Out. I saw it yesterday and it is pretty good although like CODA, the plot is predictable. For cinephiles here who have seen it all, predictable is a death knell. I don't consider myself a serious cinephile, but ten minutes in and I could tell you how it would all play out. Unlike 'pretentious' though, the 'predictable' variable in a film doesn't seem to bother me as much. A surprising twist in a film is always nice, but other times, as long as the storytelling is good, I don't mind. Unpredictability can be over-rated. Although maybe I have a penchant for a hearing handicap story having gone through it myself for a bit (I'm fine now). As movies go, this romantic comedy was watchable and entertaining but of course, highly formularized and obvious. I had never heard of the French actor Pascal Elbe, he is pretty good, and he is also Director here. On Amazon Prime in Europe, not streaming yet in Canada or the US. (subtitles)

Hear Me Out streaming: where to watch movie online?

Where is Hear Me Out streaming? Find out where to watch online amongst 45+ services including Netflix, Hulu, Prime Video.

www.justwatch.com

 

[kihei]

We Need to Talk About Kevin (2012)
3.00 out of 4stars

"Eva is a travel writer/publisher who gives up her beloved freedom and bohemian lifestyle to have a child with her husband, even though pregnancy does not seem to agree with Eva. Eva gives birth to a baby boy named Kevin, whom she can't seem to bond with him. When Kevin grows from a fussy and demanding toddler into a sociopathic teen, Eva is forced to deal with the aftermath of her son's horrific act."
A great psychological drama horror about nature versus nurture and where the guilt of early adolescent aged 'children's' actions lie. Swinton leads a great acting ensemble in this movie appearedly about parenting influence, shown with her in the present as most of the movie unfolds as a linear flashback. Nature versus nurture here feels a bit like a paradox, for when parents raise a child that already has their genetic predisposition and is taught in that same manner, inherent qualities are reinforced. Parents can also see traits they don't like in themselves through their own children, and then it becomes their responsibility to try and 'correct' these 'negative' characteristics or let them be given how they decided to parent and educate. Leading to a discussion of fate versus neglect. Ultimately, this movie shows that parents are supremely responsible for what their children do and the results of it up to a certain age. Incorrectly teaching/reinforcing and indifference to sociopathic, bullying, and violent behaviors is a parent's failure of parenting and not always genetic predisposition based either. Whether necessary on a small or extreme scale (here likely called for closer to an extreme scale) condemnation, correction, and/or various disciplines and interventions are needed. Nature versus nurture doesn't matter in the end, because parents have the power and responsibility to prevent or allow their child the capability to do or not do anything to a vast extent, and in extreme cases they need to do anything and everything they can to prevent serious self or external harm (and preferably step in early on when warning signs or actions come up). I hope none of this interpretation came off as rambly or ranting, it feels a bit odd or off when I reread it.

Faults (2014)
2.75 out of 4stars

"A cult deprogrammer past his peak is encounters formidable challenges when he is hired by a couple to deprogram their strong-willed cultist daughter."
A good psychological drama with a bit of dark comedy elements about the individuals that are involved with cults. This is one of those movies that is best to hear as little to nothing about going in or the experience will be diminished. Some interesting commentary here on manipulation/brainwashing, manipulators, and manipulatees which includes frailty, gullibility, and power dynamics. The story builds entertainingly smart to a climactic finish.

Midsommar (2019)
2.70 out of 4stars

"Dysfunctional couple Dani and Christian travel to a remote pastoral village of Sweden with a group of friends for a midsummer festival, only to find themselves in the clutches of a Scandinavian pagan cult."
A good pagan cult horror with just enough weird disturbing material. I loved Aster's first movie, Hereditary, which brought near non-stop over the top dread, creepiness, and disturbance alongside a skeletons in the closet dysfunctional family story. And I mean that statement in the best way possible. This movie brings all of that to a lesser degree, minus the energy and replace the dysfunctional family element with a dysfunctional relationship. The pacing here is a lot more casual and the troubled relationship/grief elements here don't work as effectively. But still, there are some off the wall memorable scenes and imagery here that hit all the right spots. I loved more and more as we learned about the oddness of the cult's traditions and history, I wished more time was focused on that instead of the visitors. It's a mostly fun long ride. Feels like it drags a bit in spots over it's 2hours and 28minutes runtime (director's cut is 2hours and 51minutes!), which I'd argue is from some slow pacing and some under-interesting/underwritten side stories.

Ambulance (2022)
2.55 out of 4stars

"A decorated veteran desperate for money to cover his wife's medical bills, asks for help from his adoptive brother Danny, a career criminal, who gets him involved in a bank heist. Stuff goes sideways and the 2 brothers find themselves in a high-speed pursuit after hi-jacking an ambulance with an EMT and a recently shot critically conditioned cop on board."
A guilty pleasure, damn good action thriller from Michael Bay. Here with a lower than usual budget ($40million) and a rather basic robbery plot, Bay does his sort of magic with game actors on board. From 30minutes on till the end, it's a near non-stop adrenaline pumping ride with some impressive peaks. Stuffed full of his patented orchestrated chaos of mise en scene, in and out and all around camera angles, and tight editing. Say what you want about Bay, but he isn't stupid and definitely has a purpose with profitability in the movie making industry, or as he puts it " (he) makes movies for the audience/that audiences like".

We have opposite takes on Midsommer that I remember as just being sadistic with no redeeming features, but more curiously on We Need to Talk abput Kevin which I think I responded to when it first came out with one of my major-league rants for overstylized wretched excess and a 3A score (plus I thought a coup[le consisting of Tilda Swinton and John C. Reilly was too yucky and incongruous to even think about). You certainly have gone much more deeply into the theme than I did. I vaguely remember Kevin as bringing a lot of evil nature to the table, but your take provides a different slant to think about.

By the way, I loved Lynne Ramsay's direction in You Were Never Really Here which also contains what I consider to be Joaquin Phoenix's best performance.

 

[Pink Mist]

I also saw Midsommer recently but didn't write a review. Visually it is a treat, the Swedish setting is seducing; but there isn't much under the surface despite director Ari Aster teasing themes regarding grief and trauma which makes the opening of the film particularly sadistic as it doesn't have much meaning in relation to the rest of the film - you take it out and not much changes

Also as a Finnish(-Canadian) person and as someone who once dated an anthropology graduate student, I must reiterate: never trust Swedes and never date anthropologists