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Flesh+Blood Paul Verhovens medieval Europe swords and god film that was an utter flop. Its a film about two groups of absolutely awful people going head to head and all the death and misery that follows in that wake. Apparently though it did have a lasting impact as Berserk is inspired by this, which, yeah I can see it. This is definitely the kind of film where about 5 minutes in you can see why Paul Verhoven decided he had to learn about American culture and attitudes to avoid making these mistakes again. We've got a film of misery, filth, and savagery but characters especially the lead are so jaded they seem as though they know they are immune to their situation. Theres a strange pro-crushing peasant rebellion tome to the whole thing. Rutger Hauer puts in yet another performance pushing me towards my hypothesis that Jared Leto inherited his cinematic curse. That said the female lead, played incredibly incredibly well by Jennifer Jason Leigh, is probably worth watching the film for because for what seems like a misery woman role she gets to overshadow and consume the central conflict. Still not a "romantic" film Wikipedia, unless your idea of romance involves a lot of rape and inflicting head wounds to women.
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# ? May 28, 2024 09:57 |
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I'd never seen The Wrestler. Would not recommend to watch it right before bed. I was up laying there thinking about it til about 4:30. Good movie, although I agree with the criticism that it has some well worn plot beats. But it plays those beats very well. If you're anyone facing down middle age who is, in some way, still trying to play a young man's game, it's impossible not to compare yourself to this guy.
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Solaris Beautifully made movie that I think suffers from being compared to a novel I also hold in high regard. I almost wish I'd have watched this first; but then I'd be doing a disservice to Lem. Altogether, it's not nearly the departure from the work that I'd heard it was, despite some framing differences and cuts. Still hits like a brick that's for sure. Trading Places Just solid, solid comedy all the way through; barring the train. Eddie and Akroyd are great as always, but the one that got me hardest is the Agent on the payphone pausing when interrupted to tell the woman to gently caress off. Beautiful.
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Gaius Marius posted:Solaris 1972 or 2002?
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Smile I'm not sure if this is a very well crafted paint-by-numbers horror flick or utterly brilliant. It heavily sign posts almost every detail and twist, but it feels like that's more a strength than a flaw. Because you know those beats, the film had at least 3 great moments of building dread where you know exactly what's coming but it makes you wait forever for it. I felt the same gushing enjoyment walking out of the theater when I saw Hereditary, so I'm afraid to look up interviews with the writer/director, since Ari Aster in interviews pretty much confirmed everything I thought was clever was a fluke or misreading. In the case of Smile the hinge point would be Are most of the characters written incredibly one dimensional and as cliches because it's Rose's unreliable perception of them? Like her sister and brother in-law are just self absorbed yuppies until that brief moment where the sister actually opens up about her own teen guilt and pain. Rose's fiance is the opposite, and starts out sympathetic, then is torn and concerned, but becomes more flat as Rose decides he's abandoning her. Her ex? Just kind of there for what she needs. Makes cop stuff happen and still loves her. There's a few other things like that, where you can read things as very clever or hollow and only developed as much as needed to keep the wheels from falling off as the film moves from rote plot point to plot point. Coolness Averted fucked around with this message at 02:28 on May 21, 2023 |
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Carillon posted:1972 or 2002? 72, really feel bad for how down I am on a movie that I can see is brilliant, and only let down by having 1 Day removed between my watching of It and my reading the story. Don't know why I did that Ad Astra Speaking of, this movie feels like they smashed Solaris and 2001 into a blender. All those quiet scenes of Pitt working machines and going through the necessary motions of space travel that Kubrick had the foresight to create, paired with the resounding silence of a shout for extra planetary contact that is met only with our reflection of Lem and Tarkovsky. Gotta say, didn't think we had it in us as a culture to make such a great and uplifting space movie in this decade. Also gotta say, you get a couple drinks in me and I start sounding a lot like Tommy Lee Jone's character.
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Future Cops (1993) Not Vega, Not Dhalsim, and Not Guile travel 50 years back in time to 1993 to change the life of (or maybe protect? I think?) a high school kid who’ll grow up to be a judge. Meanwhile, Not Ken and Not E. Honda are working for Not M. Bison and also go back in time to find the same would-be judge and stop the first trio from helping him. At one point two people get sucked into a bizarre bootleg version of Super Mario World. The final fight features all of the above, plus the judge’s sister (and their mom) as Not Chun-Li(s) and Richard Ng as the funniest possible way you could do Not Blanka and also the judge becomes Not Goku. Here’s a trailer, but be warned that it does give away basically the entire movie. I have no idea how they got away with any of this but it’s an extremely hilarious and fun flick. Watch it with some buds. https://youtu.be/BmHT-MtZs74 Body Snatchers (1993) I don’t have much to say about this except it’s a surprisingly solid remake with good effects. Avatar: The Way of Water What a piece of poo poo. The first movie trafficked in white savior and noble savage bullshit, but this one feels somehow even more racist given that the sea people literally have Māori style tattoos and do haka tongue stuff at one point. Genuinely surprised that I didn’t hear much of this criticism when the movie first came out, but maybe I just wasn’t paying enough attention. It’s too long and the story is dull, they spend all three hours learning how to dive and swim and then spend the last 20 minutes… forgetting how to dive and swim. They kill off one of the two kids that they didn’t bother giving any character or personality and then somehow expect you to give a poo poo when it happens. Sigourney Weaver voicing a teenager is laughable and never once believable. Bro, At least the crab suits looked cool.
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Hypnotic - HAHAHAHAHAHAHAHAHAHAHAHA so dumb. New Friday night group drunk-watch classic. Master Gardener - Meh. Paul Schrader on autopilot.
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Polite Society (2023) - A really good time. Wears all of its influences on its sleeve, but pulls off the action and fight scenes better than anyone would expect for a movie of its "type" and budget. Drags a tiny bit towards the end but not enough to really knock it.
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Pearl (2022) - I knew this was a prequel to X, and managed to go in without knowing too much else. I assumed Mia was reprising her role as the final girl survivor rather than the actual killer because I'm dumb and forgot the names. I enjoyed X as a creepy homage to 70s slashers involving the country and dumbass young people, but my God. Pearl exceeds it in so many ways. It's not as bloody, but far more disturbing. It lets you know right in the beginning that things are going to be hosed up, and I appreciate that it lets the middle be a slow burn before building up to the final climax. Mia's final shot is loving incredible. I can only imagine how hard it is to pull that off, but I really hope she does more horror. She owns in it.
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Dungeons and Dragons: Honor Among Thieves - Surprisingly good, I liked the characters and I thought the way the movie incorporated magic into it's setpieces was clever. A lazier movie would just have the characters shoot blue lazers everywhere like the later Harry Potter movies, but this one commits to the sort of rule lawyering that an actual D&D group would probably do I'm thinking mostly about how they decide they don't even need the MacGuffin to get into the locked room, they'll just use the teleportation staff. And then when the Dungeon Master says "nu uh, the portal falls face first on the floor" they have the Animorph lady chisel a hole into the concret and sneak in as a worm. poo poo like that. This is what the Marvel movies could be if they didn't pump out like 4 of them a year. 7/10 Tiger Cage - Yuen Woo Ping movie that some other goon in some other thread mentioned was on Paramount so I decided to check it out. This is a 90s Hong Kong cop movie in the vein of In The Line of Duty and Righting Wrongs, and goes hard as gently caress. It peaks in the first 10 minute, which features a rolling gun fight throughout the city. I wrote a longer entry for this but it was just me listing things that happen in this movie and saying "this was cool". 8/10 Magnificent Ruffians - This was on Shawscope Vol 2 and was the only one I hadn't gotten around to watching yet. It's another Venom Mob movie, this time with a pretty straightforward plot about the decline of martial arts in the era of gunpowder. A bunch of out of work kung fu guys get by doing dine and dashes at this ridiculous restaurant that tests their abilities with spike pits and poo poo, getting the attention of the local villain who wants to trick them into killing a business owner so he can take over. This is a Chang Cheh film so you know it's going to be at least decent but eh after 75 of these films it's hard for one to stand out too much. I'm not really a fan of the Shaw films that rely so heavily on one-on-one fights between characters who never seem to land a hit on one another until the designated end of the fight, which means I don't love the Venom movies as much as some people. It's just a lot of twirling and flipping about - definitely impressive from an acrobatic level but I never believe they're trying to hit each other and I'm pretty sure I've seen all these moves before. The choreography is as reused as the sets and costumes in these movies. Also most of the Venoms don't really stand out for me individually. When I think of my favorite stars of the studio I think of Gordon Liu, David Chiang, Alexander Fu Sheng, Cheng Pei Pei, and Jimmy Wang Yu. I have trouble remembering any of the Venom Mob's names off the top of my head, and I've seen most of their movies. So that's why I'm pretty down on this one even if I appreciate some of what it's doing. 6/10 The Toxic Avenger 4: Citizen Toxie - I skipped 2 and 3 and watched this randomly, hope I didn't miss out on any important Toxie lore. This almost as trashy as Poultrygeist but a bit less racist so more palatable. Of course it's hard to get really offended by Troma, they're so juvenile that it comes off more as a snot nosed kid telling you dirty jokes on the bus than the kind of truly malevolent 'humor' we get from certain sections of the internet nowadays. What balances it all out is the madcap creativity that goes on in these films. This film ends with a battle between Toxie and his evil twin Noxie while at the same time their fetuses battle one another in the womb of Toxie's wife, with miniature fetus sized mops. There's a part where Toxie kills a rapist by painting him in black face and handing him over to the KKK so they can lynch him. James Gunn plays a Stephen Hawking parody that talks in a stereotypical mentally disabled voice and with a penis pump that cures his ED - and at the end of the movie Toxie uses a similar penile implant to make Noxie's literal monster cock (it has a shrieking worm head like a graboid) explode. Also Stan Lee narrate this, there are enough MCU crossovers that I'm saying Toxic Avenger 4 is officially canon. 7/10
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The Bourne Identity Ehhhhhh. The Early 00's did not do the film any favors in terms of visuals. Everything is grey as hell, you can only differentiate Zurich from Paris from the signage. Only Greece at the end stands out at all. The Love interest has zero reason to be following this dude at all, and I didn't really buy their chemistry. The times when it's him trying to suss out what's going on around him while having zero information are great, but they spend too little time on that and far too much on jumpy fight scenes. Casino Royale gets poo poo on for ripping off Bourne, but that movie remembered what colors are, and even its fights were more interesting. And I'm not much of a fan of the New Bonds. If I wanted James Bond but American, I'd rather go MI. If I want a dude totally outside trying to find out what's going on I'd rather a Three Days of the Condor or something. This movie strikes it in the middle, and feels very unsatisfying.
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La Pointe Courte: Pretty awesome, I don't know enough about the history of film personally, but I can believe it when they say this is actually the first movie of the French New Wave. 1955 and it's amazing and different even compared to other 1955 movies I love like The Night of the Hunter or To Catch a Thief. The shots of their faces close up at right angles is great, and I loved the day to day life of the community shown. It's a really interesting take on the notion of the government, and it's intrusion into the fishermen's lives. From what we see, the inspectors or cops don't care about the community, but care what the community is producing. The shellfish matters because it's being sold, but there's no attempt that we see to help the people living in squalor, certainly nothing about the child that dies. I don't know how much to read into that as intentional by Varda, or if these narratives arise naturally as the state does attempt more control, but was a interesting juxtaposition with the story of the man who's from there, with his wife from Paris. They definitely make explicit that as she's from the metropole, she wants, or thinks she wants, activity and excitement, whereas he's much more content and happy to live life at it's own pace. Definitely some parallels in that story, even if it's not 1 to 1.
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Demonlover never thought I'd say it, but I wished this film had spent more time on the intricacies of hentai distribution. I saw this described as a post modern Film on criterion. I think that might be correct and also a large part of its problems as a work; criticising spectacle culture in the modern world isn't exactly easy to do in Film, a medium that inherently needs some level of spectacle to keep the viewers interest. Adding to that the films rejection of conventional plot structure, especially towards the end, and you end up with the equivalent of reducing your frame per second to near zero. That is it becomes impossible to string the images together without active mental participation, compared to doing it subconsciously for most Films. And books can do that intentionally because the reader sets the pace, for Film the director and editor do meaning if you aren't on their wavelength the whole project can go out the windows. That's not to say there's nothing to recommend the film. It's a time capsule of a very specific time in global culture, where the internet finally made true artistic globalism possible; up to and including porn and terrible music. And you can see how buisness both exploited and pushed back against the cowboy days of the digital west. Nielsen also has a couple of very good scenes towards the end. But as a whole, the work only really works as a vibe not as an entertaining Film or as criticism of anything. Postscript: some of the worst Letterboxd "reviews" I've ever read, pure word salad mumbo jumbo, crystallizing only in the image of the reviewer lounging on a beach chair with a work of nietzche like Paul Rudd in Clueless. Pure affectation.
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Pulse (2001) A friend recommended this one because I’m a big fan of the original Ring. Similar slow creeping dread vibe, though it has more of a philosophical take on loneliness and technology than anything equivalent in Ring. No cheap jump scares or anything, but a handful of really effective moments of unsettling imagery. Not afraid to linger on the horror of the shot in those moments either, which is nice. Looks great and depressing, and the more I let it marinate post-watch the more I dig it.
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The Remains of the Day Cutting the man on the pier from the ending makes the work so much darker, and then all the stuff at the end with the pigeon. Jesus, the end of the novel is hopeful even if he doesn't end up with Ms.Kenton; in the film Darlington Hall is the man's crypt. For that reason, and some of the chronology as well as losing a lot of Stevenson's BS in his own narration, I prefer the novel, but it is nice to get a better sense of scale for the manor. My American brain just cannot really grasp the idea of a house with tens of tens of rooms and passages and such. Emma Thompson in this film is one of the most attractive women I've ever seen. Overall, decent film. The moment between Hopkins and Thompson when she grabs his romance novel is absolutely perfect. I was surprised to see that Ishiguro, the novelist, was also the screenwriter for Living, the Neighy Oscar vehicle. Because Ishiguro is a good writer, and that movie sucked rear end. Red Eye Rote thriller, definite three star film that has a ton of little things that drive me absolutely nuts. Why aren't the terrorists using a Redeye instead of a Javelin, why does Cillian Murphy stalk her for months and try to terrorize Lisa into changing rooms by faking a maintenance emergency instead of just breaking in and doing it with his crew, why do they keep playing up the Male/Female thing when Murphy is terrorizing her only for her to be saved by her father. Gaius Marius fucked around with this message at 01:51 on May 26, 2023 |
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Sanctuary - Pretty hot.
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American Graffiti - At some point during the ending of Carol's arc tears started streaming down my face and couldn't explain why. Now that it's over I understand. It's a film so deeply personal, so nuanced in how it's about taking your childhood era and crystalizing a moment in time, the good and the bad, while cutting ties with it so you can move on as well. There's something gnawing at my heart as I sit here and think about all the times I had growing up, those little single moments that I never could have guessed I'd be carrying with me until adulthood, the darkness lurking under my teenage years, the context I wouldn't have the emotional capacity to even recognize until decades after. I'm just staring into space and turning it around in my mind, shattered to pieces. Hilariously, I did a double feature with Walk Hard and it paired extremely well in how they both take apart the idea of the convenient narrative and embrace the messy, complicated nature of it all in a manner that is still undoubtedly full of love. There's something to be said about a movie so deeply steeped in one's personal experience that still manages to be immensely relatable to anyone of a certain age. I wasn't even born 'til the 90s, man. Why am I out here crying about Wolfman Jack.
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Nightmare Cinema posted:Sanctuary - Pretty hot. Watched Sanctuary at the Alamo Drafthouse a few hours ago. A beautifully shot movie.
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Perfect Blue Great Film. Awful dub King of New York Walken part had to have originally been a black man, but they decided they couldn't sell it without a white lead. Naming him White and having a song asking "am I black enough" featured heavily is an insane choice otherwise. He does do a great job, as does everybody. It's a film that's earned its underground reputation.
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Gaius Marius posted:Perfect Blue Great Film. Awful dub I had the privilege of seeing it at the IFC center several months ago subbed. Speakers banging. A+.
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The Adventures of Bullwhip Griffin (1967) - well that was some classic old-school Disney. It certainly wasn't boring. Roddy McDowell is in it.
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Вызов (The Challenge) - (Medical) drama which was partially filmed on the ISS. My girlfriend went to the premiere of this a while ago and kept telling me it's good and I need to see it. Well, turns out, it's actually really good. I thought it would be a gimmick movie but the story is great and it's very well done. The camera work in actual space is breathtaking, with the camera guy moving in front of the actors through the corridors of the ISS and making all the movement one fluid shot. I feel like I need to watch it again to take it all in, because the technical realisation is so distracting I actually missed a small plot reveal. Definitely recommend!
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Midnight Run It's not often you can say that Charles Grodin elevates a movie, but here we are. This movie would be garbage without his weird sense of perfect straightman who isn't a straightman humor. Farina also putting in work
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The Red Shoes: Walked into this at my local arthouse theater knowing basically nothing about it besides the log-line. Insanely good movie, totally nuts that it was made in the 40s. The dance sequence of course is 10/10, but basically everything else is really good, too - a thrilling, fairy-tale story, fabulous technicolor, really creative camerawork. Definitely the best movie I've seen this year. Now I need to go watch a bunch more Powell/Pressberger movies.
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The Handmaiden I had to go out and figure out why I like this so much more than Park Chan-wook's other films. Finally hit me in the scene where Hideko is calling Sook He her savior while they tear up the library. Film is just an Utena movie with a shifted setting and less people becoming cars. Also this movie is way funnier once you aren't as enraptured with the drama, Sook He bonking her head and Hideko being unable to draw are top level gut busters. There's probably some interesting analysis to be done that all the villains are Koreans wanting to be Japanese, but the character most resembling Korea the country is Lady Hideko, the only Japanese. I'm not the one to do that though.
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Casablanca: I mean, just amazing? I loved it again, I hadn't seen it in a decade at this point, but fell in love with it all over again? The Marseillaise scene is oft praised, but because it's loving awesome. It does everything you want in so many movies, it sets up the stakes, helps you understand what's going on, then gives you payoff. This is the reason so many folks think they can go into filming without a finished script. God, I mean the switch during the memory scene where the background of the car changes, just all the small touches that shine through. My partner was I think less enamored with it, sadly. I hope she was just tired, but man it's a bummer when you show people that you remember loving and are falling back in love with, and their answer is it's fine I guess. Gaius Marius posted:The Handmaiden I had to go out and figure out why I like this so much more than Park Chan-wook's other films. I love The Handmaiden , in part because of the triple-twist. It's great. Have you seen Decision to Leave? I liked it less, but thought it was pretty great otherwise. Carillon fucked around with this message at 06:32 on May 31, 2023 |
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The Handmaiden owns
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I think maybe I'm missing context for Bicycle Thieves. It has a lot to recommend it, I really appreciated the complicated father-son relationship, and that we don't really get a happy ending, because why would we, but I've heard a lot of praise for this movie that doesn't hit quite as hard. It's maybe ground-breaking in ways that have become common-place? I'm not trying to slag it at all, just trying to work through the delta of its reputation and my response.
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Carillon posted:I think maybe I'm missing context for Bicycle Thieves. It has a lot to recommend it, I really appreciated the complicated father-son relationship, and that we don't really get a happy ending, because why would we, but I've heard a lot of praise for this movie that doesn't hit quite as hard. It's maybe ground-breaking in ways that have become common-place? I'm not trying to slag it at all, just trying to work through the delta of its reputation and my response. I'm sure time has blunted the Italian neorealist films' impact, somewhat, but neither shooting on-location in cities torn apart by war and political strife nor using mostly non-actors have exactly become commonplace in cinema. Both Bicycle Thieves and Vittorio E. floored me but I was similarly underwhelmed by Bresson's Pickpocket, which is often considered one of the greatest and most influential films.
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Yeah I think the bicycle thieves is loving awesome but moreso by being insanely ahead of its time rather than objectively one of the greatest films when compared next to today's tropes and techniques.
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Lampsacus posted:Yeah I think the bicycle thieves is loving awesome but moreso by being insanely ahead of its time rather than objectively one of the greatest films when compared next to today's tropes and techniques. Yeah I think that's similar to where I fell. Watching it was good! But after I was reading more and more context it really was awesome. There are some movies where the context of the film is way more interesting than the film itself, and this isn't that, but the context really makes it a fully fleshed out experience. It's crazy it was filmed in '48!
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Carillon posted:I love The Handmaiden , in part because of the triple-twist. It's great. Have you seen Decision to Leave? I liked it less, but thought it was pretty great otherwise. Stoker Way better than I would've thought. I think there's a lot of good in having an outside voice come in and make American style movies, look how good some of Wenders stuff is; sometimes you can't appreciate what is there without looking at it from the outside. And man, you can tell Wok was outside, this movie has the idea of being american while feeling totally out of place. Even ignoring small things like the fact Ms.Stoker would never in a million years go to public school, the movie is trapped in a Gothic novel that's scene setting and nothing else is Maine flavored Americana. Loved Mia in this, I've always felt she was a great actress that could never really find the right part to bring her out into the limelight, even smaller works like The Double she excelled in. I honestly cannot see how this isn't or doesn't become a Goth Girl staple in the coming years, it's just way too in the wheelhouse for it not to be.
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Tin & Tina on Netflix - How Not to Parent: The Movie. Seriously, child-proof your home ffs. Also adopting those kids and not immediately cutting their hair before they even leave the orphanage constitutes child abuse. Overall, the kids were too cartoonish. I was genuinely shocked at first when the girl puts a bag over the boys head, but aside from that one scene, this movie either needed to go full dark or go home.
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Rental Sting posted:I'm sure time has blunted the Italian neorealist films' impact, somewhat, but neither shooting on-location in cities torn apart by war and political strife nor using mostly non-actors have exactly become commonplace in cinema. Both Bicycle Thieves and Vittorio E. floored me but I was similarly underwhelmed by Bresson's Pickpocket, which is often considered one of the greatest and most influential films. *Umberto D, not Vittorio E, which is not an Italian neorealist film but rather a Spoon song.
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Across the Spider Verse shreds the competition and reminds you that the Miller/Lord combo is a gold mine. The only thing that bugged me was the lack of a solid ending. But it did make me hyped as hell for the third one
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Dr. Yinz Ljubljana posted:Across the Spider Verse shreds the competition and reminds you that the Miller/Lord combo is a gold mine. The only thing that bugged me was the lack of a solid ending. But it did make me hyped as hell for the third one Yes holy poo poo is it good! They actually use the medium of animation to tell the story, it's not just a movie that happens to be animated. That first fight scene with the Michelangelo Vulture is just perfect. I was legit worried the rest of the movie wasn't going to be able to live up to that first segment, and was happy it totally did! It's not afraid to take some pretty insane risks, but the emotional beats are all grounded in the characters. I might see this again in theaters, and I don't know if I've ever felt that way before.
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The Bourne Supremacy Took some guts in the intro and I respect that, Action still tends to dissolve into nonsense in certain scenes, the Tunnel chase for example, but as a whole I consider this movie much better than the first. It has more of its own identity rather than being trapped in between Three Days of the Condor and Bond.
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Carillon posted:Yes holy poo poo is it good! They actually use the medium of animation to tell the story, it's not just a movie that happens to be animated. That first fight scene with the Michelangelo Vulture is just perfect. I was legit worried the rest of the movie wasn't going to be able to live up to that first segment, and was happy it totally did! It's not afraid to take some pretty insane risks, but the emotional beats are all grounded in the characters. I might see this again in theaters, and I don't know if I've ever felt that way before. Spider Punk being literally copy/pasted and looking like a lovely zine was great detail as was the Davinci Vulture. What is so baffling is that they're clearly animation, you're looking right at it, but in the context of the film you just go with it. Yeah, he looks like that because he's from the Renaissance, you never stop to think about it because it just works, despite being insane as a design choice
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# ? May 28, 2024 09:57 |
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Working Girls, 1931. Just watched a brand new 35mm print from the 1997 restoration (which was funded by Jodie Foster no less) here at the BFI Film on Film Festival. It's a pre-code film directed by the only female film director in Hollywood at the time, Dorothy Arzner. It's about two sisters who move to New York to find work and husbands, with a number of possible suitors. Interesting to see the frank (for the time) references to pre-marital sex and pregnancy, and some actually funny moments. 1/13 films watched.
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