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

[Mr Jiggyfly]

View attachment 616250

Troll (2022) - 5/10

Engineers tunneling through a mountain awaken an offline troll with a massive Godzilla complex. This Norwegian Netflix movie is your typical CGI monster rampage flick. In fact, you'll think that you're watching a Hollywood one with all of the cliches that it uses. There's the civilian scientist who's summoned by the government to be its sole scientific advisor, even though it's not even her field. There's her kooky, estranged father whose theories may not be so crazy, after all. There are international news reports of the creature and shots of the control room where they're tracking him. There's a showdown with the army in a big city. There are helicopters that provoke the creature and armored tanks that open fire on him while he's just minding his own business (makes you wonder who the real trolls are). You get the idea. There's nothing in this that you haven't seen before... except that this Godzilla/Kong wannabe has a beard and hates Christians. Who does he think he is, Santa Claus? Besides being cliched, the story is weak, predictable and not very engaging and has a pretty underwhelming ending. The movie is competently made, though, with some cool shots and decent CGI, and not quite as stupid as many of the Hollywood movies that it's similar to. It's not too melodramatic, the humor isn't over the top and cringey and the characters aren't annoying. On the other hand, it's not very dramatic or funny and the characters aren't exactly likable, either. It's a very average, unremarkable movie that I neither liked nor disliked, but it's still the second-best Norwegian troll movie that I've seen (after Trollhunter). Norwegians must like trolls... that and cross country skiing. Sadly, there's no skiing in this. The characters could've escaped the troll on skis in a shameless display of their dominance of the sport, but, instead, hop into an American truck. <sigh> It must be the most Hollywood movie to come out of Scandinavia. If you have an itch for a Godzilla/Kong-like movie, you might check it out, but don't expect anything original or memorable. It's on Netflix with subtitles and with an English dub if you're after the Japanese Godzilla experience.

Ya this one wasn’t too bad and I enjoyed it until the end.

I generally like endings that are realistic and people aren’t sliding down rainbows and high fiving unicorns to make the audience happy.

However, I’m still trying to decide if the ending was a subtle type of brilliance or flat out stupid and frustrating.

I still don’t get why the troll was headed for the royal palace though.

Didn’t he just barely escape some massacre by the Christians of all his homies?

Spoiler

So he basically went and hid so he wouldn’t get killed, fell asleep for a few hundred years and shit, got rudely woken up, only to get f***ed up in the end for just being a troll?

Guess it doesn’t sit well with me and why the ending is kind of stupid.

 

[Osprey]

Ya this one wasn’t too bad and I enjoyed it until the end.

I generally like endings that are realistic and people aren’t sliding down rainbows and high fiving unicorns to make the audience happy.

However, I’m still trying to decide if the ending was a subtle type of brilliance or flat out stupid and frustrating.

I still don’t get why the troll was headed for the royal palace though.

Didn’t he just barely escape some massacre by the Christians of all his homies?

Spoiler

So he basically went and hid so he wouldn’t get killed, fell asleep for a few hundred years and shit, got rudely woken up, only to get f***ed up in the end for just being a troll?

Guess it doesn’t sit well with me and why the ending is kind of stupid.

I didn't understand the motivations, either.

Spoiler

They establish that his kind was at war with humans when he went to sleep, but it seems like he's forgotten about that when he wakes up. He really doesn't go on much of a rampage, doesn't seem to have any rage towards humans who leave him alone and even saves that one lady from certain death. The movie portrays him almost as a sympathetic and innocent victim who's only fighting back, like King Kong, but the plot is more like Godzilla, so it's a bit of a strange mishmash.

What I found disappointing about the ending is that the sun simply comes up and turns him to stone. He doesn't seem to deserve that fate, the humans do nothing to cause or earn it and it just felt like a deus ex machina to me. I actually said out loud, "wait, that's it?" I was surprised that it ended so suddenly and easily.

 

[Mr Jiggyfly]

I didn't understand the motivations, either.

Spoiler

They establish that his kind was at war with humans when he went to sleep, but it seems like he's forgotten about that when he wakes up. He really doesn't go on much of a rampage, doesn't seem to have any rage towards humans who leave him alone and even saves that one lady from certain death. The movie portrays him almost as a sympathetic and innocent victim who's only fighting back, like King Kong, but the plot is more like Godzilla, so it's a bit of a strange mishmash.

What I found disappointing about the ending is that the sun simply comes up and turns him to stone. He doesn't seem to deserve that fate, the humans do nothing to cause or earn it and it just felt like a deus ex machina to me. I actually said out loud, "wait, that's it?" I was surprised that it ended so suddenly and easily.

Spoiler

They were at war with Christians I believe, which is why the troll ate the soldier with a cross or threw him… forget exactly.

I still have no clue how he got into the mountain.

Did he just decide to take a 300 year nap during this war or what?

But ya they went out of their way to show us he was the one being wronged I feel.

When he turned to stone I had the same reaction… “the f*** was that?”

Basically humans are evil was the hint or what?

The other troll did wake up at the end, no clue who he was

 

[Spring in Fialta]

The Banshees of Inisherin (2022) Directed by Martin McDonagh 9A

It is somehow reassuring that the best movie of the year.is a conventional story conventionally (if beautifully) told. There is still power in straightforward storytelling, and The Banshees of Inisherin is a wonderful example of how emotionally engrossing a simple story can be. Padraig (Colin Farrell) and Colm (Brendan Gleeson) have been best friends for virtually ever. That is, until one day, out of the blue, Colm tells Padraig he doesn't want to be his friend anymore; in fact, he doesn't want Padraig to so much as talk to him. There is a superficial reason--Padraig is dull--"But he's always been dull," Padraig sister Siobhan (Kerry Condon) claims to no avail. But it turns out Colm has deeper reasons for his rejection, a rejection that gives him no joy, having to do with age and time and being stuck in a tiny village on a bleak island off the coast of Ireland, circa 1923 near the end of the first Irish Civil War. The sound of guns in the distance on the mainland put the village conflict in some perspective. But it is nonetheless a big deal to both Padraig and Colm whose lives are transformed and not necessarily for the better.

What makes this movie work is basically everything. The believable, complex protagonists are wonderful. Neither one is a villain, and each man's sense of self worth is tested by the situation. Even when the characters seem to go to extremes, they remain vulnerable and human, likeable souls in a complicated situation. The milieu supports the story perfectly--the remote village, the over-familiarity of the villagers, the twin focal points of pub and church, the importance of animals, the sense of place both as a nest and as a prison, even touches of superstition seem perfectly in keeping with the traditions of this little community. This is a movie about tiny matters that are as complicated as life itself. In the end there is a resolution that feels imperfect and perfect at the same time. That's actually a great way to bring the story to a close.

Director Martin McDonagh was a leading Irish playwright before he became interested in film and it shows. He possesses a sure, very Irish ear for dialogue that is often funny and very perceptive.. Farrell. Gleeson and Condon are all superb. Even the bleak setting is graced with moments of great beauty thanks largely to the wonders of sky and sea I believe The Banshees of Inisherin will be one of those movies that you will be able to see multiple times over the years and still get fresh insights into the human condition when watching it.. It was one of those fictional situations in which I hoped things really turned out well for all the characters.


Best Movies of 2022

1) The Banshees of Inisherin, McDonagh, Ireland
2) Decision to Leave, Park, South Korea
3} Aftersun, Wells UK
4) No Bears, J. Panahi, Iran
5) Hit the Road, P. Panahi, Iran
6) Everything Everywhere All at Once, Kwan/Scheinert, US
7) Moonage Daydream, Morgen, UK
8) Glass Onion, Johnson, US
9) The Box, Vigas, Venezuela
10) You Won't Be Alone, Stolevski, Macedonia

What a superb review. Great writing.

 

[kihei]

What a superb review. Great writing.

Thank you.

 

[kihei]

If I remember correctly, you also thought Guadagnino's Call Me By Your Name was a bit of an odd meshing thematically since the story would work as effectively without the gay/homosexual angle used? Guadagnino has great visual style, but maybe a little problem with how he wants to convey his messages? Have you or anyone else seen his 2018 take on Suspiria? I think you may have seen and reviewed it, but I am not conclusive on that. Could have been someone else's review I vaguely remember from 4years ago.

I don't think I saw it. Or cottoned onto the fact that Guadagnino directed the new Suspiria. Which seems like another kind of odd career move.

 

[OzzyFan]

Witness for the Prosecution (1957)
3.40 out of 4stars

“Based off the Agatha Christie play, a veteran British barrister lawyer must defend his client in a wealthy murdered widow trial that has surprise after surprise.”
An excellent courtroom drama mystery that is non-stop entertainment. Considered by Christie herself to be the finest film adaptation of one of her writings that is very well made and well acted. Humorous, dramatic, suspenseful, and has more twists than a twizzler. Well acted and well made across the board. Carried greatly by Laughton’s attention demanding performance that is energetic, sharply funny, and cleverly skilled as the heart attack recovering lawyer. Laughton’s monocle test in the film sums up his performance pitch perfectly. Dietrich also stands out in a smaller role. The courtroom tactics and story itself is very well written and expressed, keeping one's mind guessing with all the characters and possible motives in play. And finished off with an explosively twisted ending.

The Platform (2019) (subtitles and/or dubbed)
3.20 out of 4stars

“Set in a large, tower-style "Vertical Self-Management Center." Its residents, who are switched every month between its many floors, are fed via a platform which, initially filled with food at the top floor, gradually descends through the tower's levels, stopping for a fixed amount of time on each. The system inevitably leads to conflict, as the residents at the top levels get to eat as much as they can, with each level getting only the leftovers from the previous ones.”
A great science fiction thriller horror with lots of social commentary and grim worldbuilding. Purposefully violent when it wants. Its message is blunt but its delivery is sharp and continually building. For me it worked so well and progressed just right throughout. Always engaging and thought provoking while showing the serious nature of it all throughout. As you’d guess, the main topic is about class differences and the distribution of wealth and subsistence as it affects people in a seemingly capitalist society. It touches on almost every subtopic one could think of given the medium used: survival, quality of life, crime, consumerism, happiness, excess, selfishness, and the obvious hunger. And points towards all the difficulties in fixing such problems, especially for those at both extreme ends of the situation, including politics, obedience, selfishness, necessary altruism, neglect, availability, revolutionizing, force, and ignoring. The problem and the answer are the human condition. People swap places and the system continues. One or a few can’t change the system unless the majority follows, or more appropriately wants to follow. And even change by oppression isn’t a true solution. A dire situation with hopelessness abound. The open-ended/multi-interpretable ending feels like a bit of a downturn in the evolution of the film, but arguably a necessity. I will not explain a couple of interpretations I have of the ending to not ruin it, but I’ll just say it can be taken in many different ways and in a positive, negative, or arguably even a neutral light. And the meaning and use of Don Quixote’s existence within the film is the cherry on top.

I Bury the Living (1958)
2.70 out of 4stars

“New cemetery director Robert Kraft discovers that by arbitrarily changing the status of plots from empty to occupied on the planogram causes the death of the plots' owners.”
A good horror mystery that plays out like a heavily eerie atmospheric Twilight Zone episode but has a very poor ending. Its premise is advanced and explored solidly and some nice psychological mind game touches are thrown in along the way to go with the supernatural/fateful theme. Now I’m not going to ruin the ending, but let’s say if a twist directly prior to the ending was the ending/AKA the last 8-10minutes of the film were cut, I’d be definitely satisfied. So much potential set-up leading to a completely wrong turn.

 

[Spring in Fialta]

If I've understood correctly, the Enola Holmes books have the blessing/approval of the Arthur Conan Doyle estate/family so they are canon. Also, the tv show Elementary already did the twist you're referring to so only idiots would be annoyed by it.

Arthur Conan Doyle has been dead since 1930. How the f*** can anyone, including his estate, deem anything canon? Are they using a ouija board to confer with him?

 

[Spring in Fialta]

Wait a minute, is that Enola thing part of the Marvel universe too?

I swear to God, should humanity get wiped, the one thing that will be left standing the test of time will be Jussi, in the midst of all that death, all that chaos and all that silence, taking a stand against it all and forever defending the lowest common denominator opinion.

 

[kihei]

Armageddon Time (2022) Directed by James Gray 7A {see rationale on next page)

Like Stephen Spielberg's The Fabelmans, Armageddon Time is a movie by a very successful director looking back at his childhood. Gray's focus is on himself as Paul, just starting sixth grade. Paul is part of a loud, boisterous and one-dimensional Jewish family, and he is just beginning to learn about the Holocaust. He has developed a black friend named Johnny at school, and the movie not always gracefully swings back and forth to their relationship. An act of reckoning is coming, and Paul may not be up to the task. His conscience is represented by his grandfather, played well by Anthony Hopkins, the only thoroughly likeable adult in the entire movie.

Unlike Spielberg who is preternaturally adverse to risk-taking, Gray to his credit takes a whole bunch of risks here, but with mixed results. For starters, Paul is a problematic character, a little bit on the thorny side to like, a fact that the movie doesn't seem to fully realise. Gray seems to want to ponder the degree to which his own white privilege has made his successful life possible, in contrast to the life of his black friend. But then there is Paul's treatment of said friend. What Paul learns about prejudice, mostly from his Grandfather, he only halfheartedly puts into practice when the crunch comes and then not for very long. So what's with this kid, whose understanding of the problem so far outstrips his actual behaviour? And what is the message here? Maybe the director never has resolved his feelings about his younger self, which isn't the greatest sin in the world. But it leads to a movie that only partially seems ready to be made.

 

[OzzyFan]

Saw The Fableman's and I agree with mostly what's already been said. Kihei's right I think on the identity of the film being questioned throughout it's duration, is it an origin story on Spielberg in finding his art or a film about his family around him growing up. Essentially it aims to do too much but leaves some things barely scraped upon in the process. There are polished moments of wonder Spielberg is known for, almost entirely when it involves him as a child/youth and filmmaking, but there is way too much "generic melodrama", albeit I assume it was impactful on his life. Spielberg's dad in the film is barely touched upon, as is every character in his family aside from his mom and him. Curiously even his great uncle has a small but impactful role whose existence feels fully fleshed in just a few minutes of screentime. It's an enjoyable good film with moments of greatness, but it essentially boils down to how much Spielberg's mom's affair hurt him, how he moved around a few times, how he seemed close but distant with his siblings, and how his road to becoming a famed director in his youth involved much personal turmoil and escapism or passion depending on how you interpret it.

 

[Osprey]

Guillermo del Toro's Pinocchio (2022) - 8/10

After losing his son, a grief-stricken Geppetto crafts a wooden replacement that miraculously comes to life and struggles to live up to his predecessor. This isn't Disney's Pinocchio. It's much darker and heavier, in themes and emotions. Unlike Disney's watered down remake from a few months ago, del Toro's take embraces the darkness and lessons of the story and even adds to them. The new setting of Fascist Italy adds a sinister twist and commentary about what it means to be a "puppet," giving all new meaning to Pinocchio not wanting to be one. Visuals are often slightly creepy, with even Pinocchio, himself, being a little disturbing to look at at first, which goes with added allusions to Frankenstein. There's emphasis on the moral lessons of the original film, specifically the importance of telling the truth, which was largely missing from Disney's remake. There's even an added lesson for adults about not being too hard on our children, which was welcome and not condescending. In fact, though it retains the child lessons, the film feels targeted more at older audiences and probably shouldn't be shown to most children because of disturbing imagery and several deaths. It's a gorgeous film to look at, with an artistic but still realistic art style, beautiful sets and impressive stop motion animation. Apparently, it took 3 years to film because of the stop motion. You can really feel the hard work, passion and respect put into this film, as well as del Toro's admiration for the 1940 animated film, even though it's so different. In contrast, Disney's own remake felt like it was made for all of the wrong reasons and without much respect for the original. How ironic and what a difference there is between a remake made by accountants and a re-telling by a master filmmaker who'd been wanting to make it for most of his life.

It's on Netflix and in English. Also, there's a 37-minute making-of documentary on Netflix, Guillermo del Toro's Pinocchio: Handcarved Cinema, that is highly recommended to appreciate all of the work that went into the film.

 

[kihei]

Corsage (2022) Directed by Marie Kreutzer 7A

Corsage is an utterly fresh and gorgeous take on the sort of stuffy historical dramas that the BBC is noted for. Corsage (which means "corset" in German--an important distinction to keep in mind) is a re-imagining of the life of Empress Elizabeth of Austria. who along with her husband Franz Ferdinand was assassinated in 2014 precipitating World War I. While her husband wielded all the power, Empress Elizabeth was famous in her own right for her flippant, unorthodox approach to life in general and royalty in particular. She was haughty and vain but also intelligent, playful, sexy, independent, and a bit of a wild child, sort of an early version of Princess Diana. Director Marie Kreutzer and actress Vicky Krieps (in maybe the performance of the year--look to your laurels Cate Blanchett) portray her at an earlier age, the movie being set in 1878, as a very disgruntled bird in a gilded cage. Corsage is not hindered by the historical record, having Elizabeth meet Louis Le Prince, the creator of the motion picture camera, ten years before that invention took place. At one point, she also dances with her cousin to a madrigal version of Kris Kristofferson's Help Me Make It through the NIght. Heroin, a 20th century curse, also plays a role in her lassitude. Finally, she is even allowed a more poetic death than that which she suffered later. The movie really hones in on how she chafes at being wasted in a role that is only ceremonial and ornamental. The corset, which she has to wear to acquire an 18 inch waist, becomes the symbol of her oppression. While there are obvious parallels to Diana, the movie is really about how women are wasted and limited in patriarchal defined roles that neither suit them nor allow them to make use their intelligence and talent. I think Corsage is an excellent example of just how original, fresh and entertaining a feminist perspective can be in film. These are different stories than we have seen before at the movies.

subtitles


Best Movies of 2022

1) The Banshees of Inisherin, McDonagh, Ireland
2) Decision to Leave, Park, South Korea
3} Aftersun, Wells UK
4) No Bears, J. Panahi, Iran
5) Hit the Road, P. Panahi, Iran
6) Everything Everywhere All at Once, Kwan/Scheinert, US
7) Moonage Daydream, Morgen, UK
8) Glass Onion, Johnson, US
9) Corsage, Kreutzer, Austria
10) You Won't Be Alone, Stolevski, Macedonia

 

[ItsFineImFine]

Don't Worry Darling (2022) - 6/10

Decent start but really isn't directed well-enough to be its own film. It tries to lean hard into the Jordane Peele/Get Out type trope and I think it does it poorly without the tension or the intrigue. Few good scenes, lots of good scenery, but not very cohesive or interesting as a whole and the messy ending of this would be the Michael Bay equivalent of a psychological thriller.

Broker (2022) - 7/10

A bit tonally inconsistent. As Koreeda tries to put more of a variety in his stories and add a bit more suspense or drama to them, I think it takes away from his strength which are usually scenes inside a small setting with 2-4 people. I think he's very much the sort of director who would benefit from trying to make the same movie over and over like Ozu did rather than expanding out but there are still some good threads here and the flawed human essence of his films is strong throughout this one just like in ones from the past.

The Net (1995) - 6/10

Ok this is honestly much worse than a 6/10 and if I'd rated it in the 2000s I probably would've thought it was awful but I dunno, there's something about the sepia 90s nostalgia in the way this film looks that makes me feel like a softie towards it. All that dumb 90s tech talk now feels more quaint than cheesy. It does re-affirm my view that Sandra Bullock has possibly THE WORSE filmography of any major actress to star in that many Hollywood films since the 90s.

 

[Langdon Alger]

Ordinary People - 1980

The best picture winner of 1980, starring Donald Sutherland and Mary Tyler Moore. Directed by Robert Redford, who won the best Director oscar. Very well acted film and a very emotional story.

8/10

 

[kihei]

The Quiet Girl (2022) Directed by Colm Bairead 8A

Cait (Catherine Clinch) is a painfully shy, withdrawn 9-year-old who hardly utters a word even at school. The is a reason for her reticence. She comes from a highly dysfunctional family. Her mother is so warn down and depressed that she can't even bother to make sandwiches for her kids' school lunches. Her father is a totally uncaring lout who would like to get rid of at least some of his children, yet another is on the way. During summer break, Cait is sent to visit Eibhlin and Sean, a distant, middle-aged cousin and her husband, who live on a small dairy farm far removed from her home. There Eibhlin meets the child with great kindness and affection. After a chilly beginning, Sean as well begins to look after Cait lovingly. He respects her silence, telling her "Many is the person who missed the opportunity to say nothing and lost much because of it." Slowly Cait begins to come to life because of the care and consideration she has experienced for the first time. Then the a nasty, nosy neighbour tells her a family secret and her world is once again shaken. Also we know that eventually she will have to return home to all that misery.

Not since Catherine Sciamma's Tomboy, about a little girl with transgender issues, have I witnessed a film that treated a troubled child with such delicacy and respect. The Quiet Girl is a little masterpiece of a film without a false step in its entirety. The cinematography is evocative of Ireland at its greenest and most luscious, and the score is for once perfect in its gentle support. But what makes the movie a gem are the performances and the direction. Carrie Crowley and Andrew Bennett are most sympathetic as Cait's new caregivers, but is Clinch who provides the emotional heart of the movie. She has a perfect face for showing the slightest nuance, which is important because she says very little in the movie. Astonishingly, this is Colm Bairead's first film as a director and he creates a hushed, restrained atmosphere that respects Cait's silence and how deeply she lives within herself. If Bairead makes a more beautiful movie in his entire career, he will be a fortunate man.

subtitles and some English


Best Movies of 2022

1) The Banshees of Inisherin, McDonagh, Ireland
2) Decision to Leave, Park, South Korea
3} Aftersun, Wells UK
4) The Quiet Girl, Bairead, Ireland
5) No Bears, J. Panahi, Iran
6) Hit the Road, P. Panahi, Iran
7) Everything Everywhere All at Once, Kwan/Scheinert, US
8) Moonage Daydream, Morgen, UK
9) Glass Onion, Johnson, US
10) Corsage, Kreutzer, Austria

 

[KallioWeHardlyKnewYe]

Bullet Train. This is the sort of stylized ridiculous over-the-top action comedy that I often love, but this one didn't fully click for me. There's a few fun performances (particularly liked Aaron Taylor Johnson) and I laughed just enough, but two big things hold it down. Director David Leitch is a proven action director yet there isn't a single memorable setpiece here. I understand not everything can be the stairwell fight from Atomic Blonde, but the guy is responsible for some truly showstopping fight scenes and there isn't a single one here. Lots of quantity. No quality. I haven't often said this, but Brad Pitt feels miscast (or perhaps not quite pitched right ...). He does his sorta affable doofus thing here that he's played well before but it's just not that funny. They're clearly trying, but it was pretty flat to me. A more minor, but notable sin is that they cast world class ass kicker Andrew Koji in this in a role where he kicks ZERO ass. Perhaps he wanted the role because he didn't want to be typecast as an action man, but boy does it feel like a waste of talent. (Sidenote: His show Warrior on HBOMax is one of the most relentlessly entertaining shows I've seen in years).

Extreme Prejudice. I'm about to start reading a book about Walter Hill and wanted to acquaint (or reacquaint) myself with a few of his movies. This was at the top of my list. A triangle of violent, macho toughness — Nick Nolte is a Texas Ranger, Powers Boothe is a drug kingpin (and old friend) and a team of military mercenaries (including Michael Ironside and Clancy Brown) — square off (triangle off??) against each other at the Texas/Mexico border. This is the most Sam Peckinpah movie that Sam Peckinpah never made. It's a very open riff on The Wild Bunch and if you're a fan of that I'd imagine you'd appreciate this as well. Every actor in this looks like they smell like whiskey and cigars. Boothe in particular — an actor who I think has never given a bad performance — grunts and spits the tough guy talk with aplomb. A good litmus test may be the opening four minutes of the movie, which is a rollcall of the military team (a stellar assembalge of "that guy" actors) set to an 80s action score. If that does nothing for you, then this isn't for you. If you sit there and your mind is just going "f*** YEAH" then you're in good hands.

 

[Osprey]

Bullet Train. This is the sort of stylized ridiculous over-the-top action comedy that I often love, but this one didn't fully click for me. There's a few fun performances (particularly liked Aaron Taylor Johnson) and I laughed just enough, but two big things hold it down. Director David Leitch is a proven action director yet there isn't a single memorable setpiece here. I understand not everything can be the stairwell fight from Atomic Blonde, but the guy is responsible for some truly showstopping fight scenes and there isn't a single one here. Lots of quantity. No quality. I haven't often said this, but Brad Pitt feels miscast (or perhaps not quite pitched right ...). He does his sorta affable doofus thing here that he's played well before but it's just not that funny. They're clearly trying, but it was pretty flat to me. A more minor, but notable sin is that they cast world class ass kicker Andrew Koji in this in a role where he kicks ZERO ass. Perhaps he wanted the role because he didn't want to be typecast as an action man, but boy does it feel like a waste of talent. (Sidenote: His show Warrior on HBOMax is one of the most relentlessly entertaining shows I've seen in years).

You just helped me to realize that I forgot to include this on my recent post of forgettable movies that I watched in the last month. Hmm. Could that mean that it was the only forgettable one and the rest were actually memorable?

 

[shadow1]

Jackie Chan's First Strike aka Police Story IV (1996) - 7/10

A Hong Kong detective agrees to work for the CIA on a nuclear smuggling case.

Jackie Chan stars as Ka-Kui, reprising his role from the earlier Police Story movies. Ka-Kui accepts an assignment from the CIA to monitor a woman on a flight from Hong Kong to the Ukraine, where he will then spend a few days of vacation. However, the operation goes sideways, and Ka-Kui is forced to continue his surveillance on foot. This leads him to a ski lodge where an illegal nuclear sale involving Tsui (Jackson Lou) is going down. Now deeply involved in the conspiracy, Ka-Kui agrees to work with Col. Gregor (Yuriy Petrov) of the FSB to track down Tsui's sister Annie (Annie Wo) in Australia...

First Strike was written and directed by Stanley Tong, and marks the fourth entry in the Police Story series. Similar to Police Story III: Supercop, First Strike is only vaguely related to the earlier films in the series. The grounded drama of the first two entries is long gone, as are all recurring side characters save for Uncle Bill (Bill Tung, in his final acting role).

For many, Police Story IV: First Strike was the gateway drug for Jackie Chan films. It was the first film Jackie released in the United States following 1995's Rumble in the Bronx, which is the movie that put propelled him to massive worldwide fame. Rebranded as Jackie Chan's First Strike, the film had a successful limited theatrical run in the United States, and went on to become very popular in the video market, grossing over $13M in rentals in 1997.

I specifically remember when my dad rented First Strike one Friday night. It was the first Jackie Chan movie I had ever watched and just like everyone else in the United States in the late 1990's, I became hooked. My dad and brother also loved the movie, as has everyone else I've ever met who's seen it. I think that's First Strike's legacy: it's is one of the most accessible movies ever made. I contend you could show this film to almost anyone in the world, regardless of age, and they'll be able to enjoy it on some level.

First Strike's plot is generic at best, full of holes at worst. Though it has similarities to a James Bond plot, it doesn't make sense that a Hong Kong police officer would be involved in this smuggling plot, and Jackie's character does little to drive the plot forward. He's just a bag blowing in the wind, caught up in events that don't have much to do with him. There is also some really stiff dialogue during exposition scenes.

Despite the thin narrative, the plot is easy to follow and does its job to set up the meat of the film, which is the action. First Strike features some of Jackie's most memorable action set pieces, including a snowy ski lodge battle, underwater aquarium fight, and a fight where Jackie cleverly uses a ladder for self defense. Despite lots of fighting and a plot featuring nukes, First Strike is very lighthearted due to lots of comedy and very little blood or mean spirited violence.

The contrasting settings of cold Ukraine and balmy Australia give Jackie Chan's First Strike a lot of variety and help make it more memorable. Jackie was 42 years old when this film came out, but you wouldn't know it from watching him. He outdoes himself once again with great stunts, including a fight atop a hotel that still makes my legs weak to this day. It's ironic that Jackie didn't find worldwide fame until over 20 years into his career, at an age in which most action stars would be considered washed up.

Overall, First Strike isn't just a popcorn movie - it is THE popcorn movie. Great action combined with a lighthearted tone make First Strike an extremely accessible and rewatchable movie that is recommended for all audiences.

 

[Pranzo Oltranzista]

Jackie Chan's First Strike aka Police Story IV (1996) - 7/10

A Hong Kong detective agrees to work for the CIA on a nuclear smuggling case.

Jackie Chan stars as Ka-Kui, reprising his role from the earlier Police Story movies. Ka-Kui accepts an assignment from the CIA to monitor a woman on a flight from Hong Kong to the Ukraine, where he will then spend a few days of vacation. However, the operation goes sideways, and Ka-Kui is forced to continue his surveillance on foot. This leads him to a ski lodge where an illegal nuclear sale involving Tsui (Jackson Lou) is going down. Now deeply involved in the conspiracy, Ka-Kui agrees to work with Col. Gregor (Yuriy Petrov) of the FSB to track down Tsui's sister Annie (Annie Wo) in Australia...

First Strike was written and directed by Stanley Tong, and marks the fourth entry in the Police Story series. Similar to Police Story III: Supercop, First Strike is only vaguely related to the earlier films in the series. The grounded drama of the first two entries is long gone, as are all recurring side characters save for Uncle Bill (Bill Tung, in his final acting role).

For many, Police Story IV: First Strike was the gateway drug for Jackie Chan films. It was the first film Jackie released in the United States following 1995's Rumble in the Bronx, which is the movie that put propelled him to massive worldwide fame. Rebranded as Jackie Chan's First Strike, the film had a successful limited theatrical run in the United States, and went on to become very popular in the video market, grossing over $13M in rentals in 1997.

I specifically remember when my dad rented First Strike one Friday night. It was the first Jackie Chan movie I had ever watched and just like everyone else in the United States in the late 1990's, I became hooked. My dad and brother also loved the movie, as has everyone else I've ever met who's seen it. I think that's First Strike's legacy: it's is one of the most accessible movies ever made. I contend you could show this film to almost anyone in the world, regardless of age, and they'll be able to enjoy it on some level.

First Strike's plot is generic at best, full of holes at worst. Though it has similarities to a James Bond plot, it doesn't make sense that a Hong Kong police officer would be involved in this smuggling plot, and Jackie's character does little to drive the plot forward. He's just a bag blowing in the wind, caught up in events that don't have much to do with him. There is also some really stiff dialogue during exposition scenes.

Despite the thin narrative, the plot is easy to follow and does its job to set up the meat of the film, which is the action. First Strike features some of Jackie's most memorable action set pieces, including a snowy ski lodge battle, underwater aquarium fight, and a fight where Jackie cleverly uses a ladder for self defense. Despite lots of fighting and a plot featuring nukes, First Strike is very lighthearted due to lots of comedy and very little blood or mean spirited violence.

The contrasting settings of cold Ukraine and balmy Australia give Jackie Chan's First Strike a lot of variety and help make it more memorable. Jackie was 42 years old when this film came out, but you wouldn't know it from watching him. He outdoes himself once again with great stunts, including a fight atop a hotel that still makes my legs weak to this day. It's ironic that Jackie didn't find worldwide fame until over 20 years into his career, at an age in which most action stars would be considered washed up.

Overall, First Strike isn't just a popcorn movie - it is THE popcorn movie. Great action combined with a lighthearted tone make First Strike an extremely accessible and rewatchable movie that is recommended for all audiences.

Question is: does he fight the shark?

 

[ItsFineImFine]

The Jackal (1997) - 7/10

Not as cerebral as the 70's original but it has its own 90s charms (which I've said before appeal to me more than others from the colour pallete to the soundtrack with Massive Attack type songs). Also is there a 90s thriller of this sort that doesn't feature a scene in some sort of club or loud bar? Anyways, the strength of this one is that it makes the secondary storyline (the hunt for the assasin) stronger than the original with Richard Gere leading it in what I honestly thought was a perfectly fine Irish accent. That does however take away from the strength of the original which was just showing how methodically and coldly the assassin goes about to arrange his business.

This movie talks about how cold and emotion-less the assassin is while the original showed it. Bruce Willis makes a good bad guy but the insistence to give the star more lines than was necessary and having it lead to a climax then a post-climax-climax really make it get in its way but what can you do, this was a bigger budget 90s Hollywood thriller while the original was a French psychological thriller.

Not having World Cup games for a few days really lets you get through the old film.

 

[kihei]

Carmen (2022) Directed by Valerie Buhagiar 6A

On the island of Malta, middle-aged Carmen (Natascha McElhone) has been the church housekeeper for her dour priest brother her entire life. Her sheltered existence comes to an abrupt end when he dies of a heart attack, leaving her completely alone. Suddenly homeless, she asks the Bishop for help, but he demurs, telling her she will experience bliss eventually. She asks when. He says, "After you are dead, of course." She says, "Ah." However, Carmen finds clever ways to help keep herself alive, that is, with the help of a friendly pigeon who provides her with helpful clues about what she should do next (an indication perhaps that the Holy Ghost does indeed move in strange ways). When no new priest is forthcoming, she hides out in the church confessional where she has no choice but to hear people's confessions. She is so good at giving thoughtful penances, people flock to her, not knowing that she is an impostor, a female impostor, at that. Things get complicated. The first half of this movie is just wonderful, a lovely, light comedy in which McElhone gets to shine. McElhone is way too beautiful for the role, which places stress on one's suspension of disbelief. but she is an absolute delight in it. Unfortunately, the arc of the movie becomes more predictable as it progresses, falling into common romantic comedy cliches, so that the cleverly constructed and executed humour of the first half is tempered by the less imaginative but still passably charming second half.

subtitles and English

 

[OzzyFan]

The Jackal (1997) - 7/10

Not as cerebral as the 70's original but it has its own 90s charms (which I've said before appeal to me more than others from the colour pallete to the soundtrack with Massive Attack type songs).

Speaking of remakes, has anyone seen both Cape Fears? The 62' Lee Thompson one with Peck and Mitchum and the 91' Scorsese one with De Niro and Nolte? I've been flirting in the back of my mind for a long time about watching one, but not sure which one would be a preference or suggested superior version, or even the differences between the 2.

 

[shadow1]

Question is: does he fight the shark?

He tactfully avoids one!

 

[Osprey]

Speaking of remakes, has anyone seen both Cape Fears? The 62' Lee Thompson one with Peck and Mitchum and the 91' Scorsese one with De Niro and Nolte? I've been flirting in the back of my mind for a long time about watching one, but not sure which one would be a preference or suggested superior version, or even the differences between the 2.

Here are my reviews from a few years ago:

Movies: - Last Movie You Watched and Rate It | Part#: Some High Number +3

If you're going to watch just one, it should probably be the original, but I recommend watching the remake eventually, as well.