Movies: Last Movie You Watched and Rate It | Part#: Some High Number +2

[OzzyFan]

The Peanut Butter Falcon
2.90 out of 4stars

A heart warming buddy adventure story with a couple flaws. No spoilers here, but I feel audiences will be mixed on Labeouf's character, Johnson's character feels underdeveloped, and I didn't like how "part" of the ending was executed. Altogether a great accomplishment though.

Ready or Not
2.75 out of 4stars

It's a whacky horror twist on games/weddings/meeting the family. A fun and funny ride that rarely takes itself too serious, which is a huge plus in this genre when executed well.

Angel Has Fallen
2.20 out of 4stars

Rather run of the mill action movie, elevated by Nolte/Butler's charisma(albeit Butler's looks and star seem to be strongly fading), some above average explosions/action sequences, and some interesting commentary related to this field is brought up, but they only scratched the surface on it.

 

[ORRFForever]

Ready or Not
2.75 out of 4stars

It's a whacky horror twist on games/weddings/meeting the family. A fun and funny ride that rarely takes itself too serious, which is a huge plus in this genre when executed well.

It looked great.

 

[ORRFForever]

Watching Office Space on late night T.V.

No matter how many times I watch Office Space, it makes me laugh. One of the great comedies of ALL TIME !!!

 

[Babe Ruth]

Pride and Glory (2008).

Typical bad-cop drama. Lot of cop clichés, pretty forgettable and routine. Forgettable enough, that I literally was an hour in when I realized I had watched it a decade ago (& forgot I had seen it before).
Talented cast (Edward Norton, Jon Voight, etc), but not much suspense, not very compelling to me.

I rate it 3 (on a 10 point scale).

 

[Pranzo Oltranzista]

Jerry Maguire - watched that to please the gf, hadn't seen it since its theater run and it was slightly better than I thought it was - 4/10

 

[ORRFForever]

Untouchable [2019] :

Seth MacFarlane's ex-wife directed this documentary about the abuses of Harvey Weinstein. It's well done.

7.5/10

Movie Trailer :

 

[Jumptheshark]

Watched Guy Ritchies Aladdin on the plane

0/10


Robin William's is a tough act to follow and while Will Smith can do some things, he can not pull off this and the directing was uneven

 

[Savi]

I saw a Mexican movie called Tigers are not afraid recently, and it was really good. I read someone described it as "this is what City of God would look like if it was directed by Guillermo Del Toro" and I thought that was spot on.

 

[sr edler]

Some Like It Hot (1959) by Billy Wilder – 6/10

This film is a bit paradoxical to me. My favorite scene is probably the intro scene at the speakeasy, where Marilyn Monroe isn't present, but I think (probably contrary to popular opinion) that she's carrying it for the most part, along with Beverly Wills. Without her, it would be too annoying. Her entrance is a psychological relief.

One thing though, Jack Lemmon's laugh and manners in this film must

Spoiler

be where Heath Ledger got most of his inspiration for his role as Joker in The Dark Knight

 

[kihei]

In Fabric [2019] :

"A Killer (Red) Dress" : You wear a red dress and your life goes to hell.

Sound familiar? Sounds like The Ring, One Missed Call or It Follows.

The difference? In Fabric is funny. Really funny!

So, if you're looking for a horror/comedy that is light on the horror but heavy on the laughs (the comedy is really dark), In Fabric is for you.

8/10

Note : In Fabric was released in England but won't be in North American theaters until December 2019.

Movie Trailer :

Strickland is so weird.

 

[tacogeoff]

Mad Max - Fury Road. 10/10. It feels like it just gets better every time I watch it.

 

[Trap Jesus]

I've been pretty excited for In Fabric. Just looks very stylistic and weird. Looks quite derivative of the 70s horror aesthetic and Giallo movies in particular, but I really like that style.

Feels like something that could be similar in tone to something like Drag Me to Hell for a horror/comedy mix, although reading ORR's review it doesn't seem like that's quite the case.

 

[KallioWeHardlyKnewYe]

Been quiet on here recently (y’all don’t need to know my thought on EVERY movie I watch). But I caught a few interesting ones of late and felt like sharing. Also, I don’t feel like working.

The Falcon and the Snowman. A pretty compelling mid-80s drama based on the true stories of Christopher Boyce and Daulton Lee, couple of American kids who turned traitor in the 70s, selling secrets to the Soviets. Young Sean Penn and Timothy Hutton are the stars. This is an early methody/wired/manic Penn performance and it’s a damn good one, as an ambitious but overmatched drug dealer with more than a few chips on his shoulders. Hutton is the cool-headed one balancing out the two. Feels a bit forgotten to time, but I thought it was pretty affecting. The film is perhaps a tad too sympathetic to Hutton/Boyce for my tastes. The end credits song puts an unnecessary button the proceedings. But if you like grounded spy stuff and just want to sit back with a classic well-told, well-acted story, this works well.

The Lure. I didn’t know I needed a Polish horror disco/techno musical mermaid film. But I apparently did. Was fairly mesmerized by this from the go. A demented modern spin on fairy tales with bursts of horror balanced against poppy musical numbers and MTV video dance routines (well, when they used to show videos). I unreservedly loved it.

The Nightingale. Saw this a week ago and it’s still stuck with me. A hard, brutal chase/survival movie through the forests of colonial Australia. Western in spirit. Isn’t going to be embraced or endorsed by the Australian Historical Society. Aisling Franciosi is memorable and affecting as the aggrieved protagonist, as is Baykali Ganambarr as her guide, but Sam Clafin is one of the vilest, most detestable villains I’ve seen in a movie in some time. It’s easy to be an unrestrained monster, but Clafin adds a layer of pathetic needy sadness beneath his brash exterior that makes him human — and all the more frightening. He doesn’t strike because he’s a brute. He strikes because he’s weak and he makes other suffer for it. It’s chilling.

Sightseers. An early Ben Wheatley film. The less said the better. Very dark. Very funny. Walks a tonal line perfectly.

 

[kihei]

Portrait of a Lady on Fire (2019) Directed by Celine Sciamma 9A (beautifully done; leisurely paced but rich with incidents)

Marianne is commissioned by a rich patron to paint the portrait of her reluctant daughter Heloise, soon to be married off but not enthusiastic about the prospect. The trappings are 18th century Gothic--Marianne sails to a desolate estate where her subject awaits her in a mansion overlooking a tempestuous sea. Alone together, they get to know one another and bit by bit love blooms. As she did in Tomboy, a movie about an 11-year-old girl with transgender issues, director Celine Sciamma pitches the filmic equivalent of a perfect game. The direction is beautiful, the mise-en-scene used expertly, the cinematography and lighting worthy of Barry Lydon, and the script among the best in years. It is impossible not to watch this movie and compare it to Blue Is the Warmest Colour directed by Abdellatif Kechiche. One movie is made incorporating a traditional male gaze; the other tackles similar material but from the perspective of a female. What's the difference? Take the controversial explicit sex scenes in Blue Is the Warmest Colour. While they are absolutely necessary, these sex scenes are shot in a way that is very similar to what you might see in a porno movie about lesbians directed for a male, heterosexual audience. Likewise the two central characters never quite get beyond being types that we have seen before at the movies. In contrast, though she incorporates sex scenes, Sciamma engages in no sexual objectification whatsoever. This is a film about a slowly growing relationship between two very specific and believable young women. It's not just that Sciamma handles the sex scenes with a lightness of touch that divorces them from the prurient, she is also way more concerned not with passion and heat, though their importance is not ignored, but with the slowly growing awakenings of each partner, awakenings that lead to the love and desire which make sexual union natural and inevitable. Ultimate Portrait of a Lady on Fire is a humane and beautiful work that deals with love both as it happens as well as how it is remembered when it departs. Few movies have ever done it better.

subtitles


Best of '19 so far

Portrait of a Lady on Fire, Sciamma, France
An Elephant Sitting Still, Hu, China
High Life, Denis, France/US

 

[ORRFForever]

I've been pretty excited for In Fabric. Just looks very stylistic and weird. Looks quite derivative of the 70s horror aesthetic and Giallo movies in particular, but I really like that style.

Feels like something that could be similar in tone to something like Drag Me to Hell for a horror/comedy mix, although reading ORR's review it doesn't seem like that's quite the case.

It is really funny... just not scary. It's different, as I said, in a GOOD way.

 

[Arizonan God]

Portrait of a Lady on Fire (2019) Directed by Celine Sciamma 8A (beautifully done; leisurely paced but rich with incidents)

Marianne is commissioned by a rich patron to paint the portrait of her reluctant daughter Heloise, soon to be married off but not enthusiastic about the prospect. The trappings are 18th century Gothic--Marianne sails to a desolate estate where her subject awaits her in a mansion overlooking a tempestuous sea. Alone together, they get to know one another and bit by bit love blooms. As she did in Tomboy, a movie about an 11-year-old girl with transgender issues, director Celine Sciamma pitches the filmic equivalent of a perfect game. The direction is beautiful, the mise-en-scene used expertly, the cinematography and lighting worthy of Barry Lydon, and the script among the best in years. It is impossible not to watch this movie and compare it to Blue Is the Warmest Colour directed by Abdellatif Kechiche. One movie is made incorporating a traditional male gaze; the other tackles similar material but from the perspective of a female. What's the difference? Take the controversial explicit sex scenes in Blue Is the Warmest Colour. While they are absolutely necessary, these sex scenes are shot in a way that is very similar to what you might see in a porno movie about lesbians directed for a male, heterosexual audience. Likewise the two central characters never quite get beyond being types that we have seen before at the movies. In contrast, though she incorporates sex scenes, Sciamma engages in no sexual objectification whatsoever. This is a film about a slowly growing relationship between two very specific and believable young women. It's not just that Sciamma handles the sex scenes with a lightness of touch that divorces them from the prurient, she is also way more concerned not with passion and heat, though their importance is not ignored, but with the slowly growing awakenings of each partner, awakenings that lead to the love and desire which make sexual union natural and inevitable. Ultimate Portrait of a Lady on Fire is a humane and beautiful work that deals with love both as it happens as well as how it is remembered when it departs. Few movies have ever done it better.

subtitles


Best of '19 so far

Portrait of a Lady on Fire, Sciamma, France
An Elephant Sitting Still, Hu, China
High Life, Denis, France/US

I regret not getting tickets for this at TIFF. I enjoyed Sciamma's Girlhood quite a bit, and the trailer looked great.

 

[kihei]

I regret not getting tickets for this at TIFF. I enjoyed Sciamma's Girlhood quite a bit, and the trailer looked great.

in my review, I initially confused Tomboy with Girlhood. Of you haven't seen Tomboy, put on your list. It is a beautiful film.

 

[Pranzo Oltranzista]

in my review, I initially confused Tomboy with Girlhood. Of you haven't seen Tomboy, put on your list. It is a beautiful film.

Tomboy was more effective than Girlhood IMO. The latter's trailer was absolutely amazing, but the film itself didn't deliver on my expectations.

 

[Arizonan God]

in my review, I initially confused Tomboy with Girlhood. Of you haven't seen Tomboy, put on your list. It is a beautiful film.

Done.

 

[kihei]

The Whistlers (2019) Directed by Corneliu Porumboiu 5B

A corrupt cop learns a folk language that uses whistles rather than words in order to communicate with his corrupt partners in crime. A powerful police detective, also corrupt but in a different way, is on his trail. Despite the interesting premise, The Whistlers, though well directed, never really goes anywhere very interesting. There is a lot of director Corneliu Porumboiu's tradematk droll, dry humour, but unlike his earlier films Police, Adjective and 12:08 East of Bucharest, the movie seems a mere exercise in neo-noir film making with nothing new to say about corruption except that it is all pervasive in Romania. The movie is watchable but a letdown coming from a talent as original as Porumboiu.

subtitles

 

[kihei]

Sea Fever (2019) Directed by Neasa Hardiman 6A

A brilliant young biologist (Hermoine Corfield) hitches a ride on a fishing trawler which heads straight to a restricted zone in the Irish Sea where they are not supposed to trespass. The crew pick up an unwanted traveler--a lamprey-like creature that has the power to destroy them. Sea Fever is a modest horror movie, the kind you probably wouldn't want to pay first run dollars to see but which is worth a look if it pops up on Netflix. Not many horror movies are set at sea, so director Neasa Hardiman provides a fresh take on the usual horror tropes. The only horror movie I can think of to compare Sea Fever to is The Thing, either Howard Hawk's version or John Carpenter's, in that the action takes place in a confined, isolated space with only a few people around to cope with a minimum of resources available to avert disaster. Hardiman does bring a fresh perspective to the genre which is all to the good, but the movie never quite grabbed me.

 

[ORRFForever]

Late Night [2019] :

Imagine the production meeting before the making of Late Night : the producers decide they want to make a "smart, cutting edge, ballsy, proudly liberal, feminist, name dropping, workplace movie about women (a network chief, TV host, and writer) in late night T.V."

Unfortunately, they forgot "funny".

Everything in this movie is over the top, except for the laughs, which are few and far between. Late Night is predictable, cringe worthy and Yahoo estimates it lost $40,000,000 - as per Wiki.

3.5/10

Movie Trailer :

 

[ORRFForever]

Sea Fever (2019) Directed by Neasa Hardiman 6A

A brilliant young biologist (Hermoine Corfield) hitches a ride on a fishing trawler which heads straight to a restricted zone in the Irish Sea where they are not supposed to trespass. The crew pick up an unwanted traveler--a lamprey-like creature that has the power to destroy them. Sea Fever is a modest horror movie, the kind you probably wouldn't want to pay first run dollars to see but which is worth a look if it pops up on Netflix. Not many horror movies are set at sea, so director Neasa Hardiman provides a fresh take on the usual horror tropes. The only horror movie I can think of to compare Sea Fever to is The Thing, either Howard Hawk's version or John Carpenter's, in that the action takes place in a confined, isolated space with only a few people around to cope with a minimum of resources available to avert disaster. Hardiman does bring a fresh perspective to the genre which is all to the good, but the movie never quite grabbed me.

Would you be kind enough to remind us about this movie when it becomes available for general viewing?

 

[Osprey]

Early Man (2018) - 7/10 (Really liked it)

A tribe of stone age cavemen must win their valley back from the more evolved bronze agers in a game of soccer. This latest stop motion animation film from Nick Park and Aardman Animations (of Wallace & Gromit fame) is, as always from them, charming and witty. In fact, the majority of the jokes are made for the adults to get, and I found myself laughing a lot (which doesn't happen often with films these days). It's very much a British film, as its obsession with soccer and making the villain sound like a Frenchman suggest, but there aren't many references or jokes that North Americans wouldn't get, at least if they know the basics of soccer. Liking the game probably helps, but isn't necessary. It's pretty formulaic and predictable, but that's to be expected because it's a largely sports film and is animated. It reminded me in many ways of 1981's Victory, which I've always liked, but in animation form. It may not be Aardman's best film, but I still enjoyed it quite a bit.

 

[kihei]

Would you be kind enough to remind us about this movie when it becomes available for general viewing?

Sure, no problem. Keep in mind, Irish films seldom get picked up for distribution, but if it does and I learn about it, I will for sure let people know.