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That's a great use of Ron Pearlman, too. You assume he's going to do something cool, but pisses his pants when the boy android confronts him.
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Apr 18, 2015 20:49
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I keep reading that as the Walter Hill movie 'The Driver' and getting very confused. I'm old and it's a better movie in my opinion.
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Apr 18, 2015 20:53
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HUNDU THE BEAST GOD posted:That's a great use of Ron Pearlman, too. You assume he's going to do something cool, but pisses his pants when the boy android confronts him. i forgot how much every member of the supporting cast just kills it. Perlman and Cranston in particular do a hell of a lot with teir minor characters. Humbug Scoolbus posted:I keep reading that as the Walter Hill movie 'The Driver' and getting very confused. I'm old and it's a better movie in my opinion. i really need to see this, the one library in my area that has it refuses to send it to my local library  love Walter Hill
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Apr 18, 2015 20:53
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They're both very good.
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Apr 18, 2015 20:53
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Uncle Boogeyman posted:i forgot how much every member of the supporting cast just kills it. Perlman and Cranston in particular do a hell of a lot with teir minor characters. Yeah, the two scenes Shannon gets are just out of the park, both because of the subtly changed relationship with Bernie. I think Bernie Rose is a character they've tried to do a couple times since (I'm specifically thinking of the incredibly unlikely Werner Herzog character in Jack Reacher) but it's just too weird if you don't imbue it with that kind of permanent irritation that Albert Brooks does.
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Apr 18, 2015 20:55
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Humbug Scoolbus posted:I keep reading that as the Walter Hill movie 'The Driver' and getting very confused. I'm old and it's a better movie in my opinion. I mean, Drive does crib a decent amount from that movie.
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Apr 18, 2015 20:56
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HUNDU THE BEAST GOD posted:Yeah, the two scenes Shannon gets are just out of the park, both because of the subtly changed relationship with Bernie. I think Bernie Rose is a character they've tried to do a couple times since (I'm specifically thinking of the incredibly unlikely Werner Herzog character in Jack Reacher) but it's just too weird if you don't imbue it with that kind of permanent irritation that Albert Brooks does. the scenes between Bernie and Izzy are so good. "They still pinch my cheeks like i'm some fuckin' kid!" is a great line reading, Perlman actually manages to make you feel kinda sympathetic for his gross amoral crook.
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Apr 18, 2015 20:57
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It's so loving great that we're still talking about Drive in-depth like almost 4 years after it came out. I'm not being ironic, I feel vindicated for it being one of my favorite movies if anything.
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Apr 18, 2015 20:58
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LORD OF BUTT posted:It's so loving great that we're still talking about Drive in-depth like almost 4 years after it came out. I'm not being ironic, I feel vindicated for it being one of my favorite movies if anything. I've only seen it like three times, but so much about it is so vivid to me still. Every once in a while I try to figure out why that is.
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Apr 18, 2015 21:00
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LORD OF BUTT posted:I mean, Drive does crib a decent amount from that movie. Ryan O'Neal is almost zen-like in it. That and Michael Mann's 'Thief' (not the Richard Crenna/Angie Dickinson one), are the movies I think of when somebody says neo-noir.
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Apr 18, 2015 21:04
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Humbug Scoolbus posted:Ryan O'Neal is almost zen-like in it. That and Michael Mann's 'Thief' (not the Richard Crenna/Angie Dickinson one), are the movies I think of when somebody says neo-noir. and Thief is of course another huge touchstone for Drive.
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Apr 18, 2015 21:17
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I liked Drive because it's one of the only movies out there that felt sort of close to No Country For Old Men in it's tone. If that post makes sense to anyone I'd welcome recommendations along those lines.
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Apr 18, 2015 22:07
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LORD OF BUTT posted:There is literally one scene in the entire movie where he shows any kind of strong emotion. Throughout the rest, Gosling's performance is very deliberately flat and unemotional, almost like he's putting up a mental wall that gets a hole smashed through it for that scene. Just because he isn't chewing scenery doesn't mean he lacks emotion. Driving Irene and Benito down to the creek on a beautiful afternoon immediately springs to mind. I know Gosling didn't erupt into loving song, but if that doesn't display emotion I do not know what does. Honestly, if you can't see and feel emotion from that then the emotionless autist is your reflection staring back at you uncomprehendingly. precision posted:I said the film had an emotionless scene, not that The Driver didn't have emotions. I explicitly said the opposite of that.  I was wondering if you had misread that. No worries.NESguerilla posted:I liked Drive because it's one of the only movies out there that felt sort of close to No Country For Old Men in it's tone. If that post makes sense to anyone I'd welcome recommendations along those lines. I don't know if it will match exactly, but to me Hara-Kiri: Death of a Samurai always felt similar to Drive and No Country. It is a Takashi Miike remake of an older film that I haven't watched yet.
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Apr 18, 2015 22:12
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NESguerilla posted:I liked Drive because it's one of the only movies out there that felt sort of close to No Country For Old Men in it's tone. If that post makes sense to anyone I'd welcome recommendations along those lines. i presume you've already seen Only God Forgives, but if not, that's a logical one. other suggestions on US Netflix: Blue Ruin Out of the Furnace Killing Them Softly Sympathy for Mr. Vengeance Joe Undertow
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Apr 18, 2015 22:13
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I haven't seen Only God Forgives. I'll check it out and some of the other ones you guys recommended. Blue Ruin isn't a bad choice but I don't think it stands up to NCFOM or Drive in overall quality. Still a decent movie though.
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Apr 18, 2015 22:18
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NESguerilla posted:I haven't seen Only God Forgives. I'll check it out and some of the other ones you guys recommended. yeah i mean Drive and No Country are both basically masterpiece level. the only one that i listed which i think maybe equals them in quality is Mr. Vengeance (although it's also probably the least similar). but they're all stylish, dark crime thrillers that i enjoyed
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Apr 18, 2015 22:21
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NESguerilla posted:I liked Drive because it's one of the only movies out there that felt sort of close to No Country For Old Men in it's tone. If that post makes sense to anyone I'd welcome recommendations along those lines. Vengeance is Mine.
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Apr 18, 2015 23:03
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Chichevache posted:Just because he isn't chewing scenery doesn't mean he lacks emotion. Driving Irene and Benito down to the creek on a beautiful afternoon immediately springs to mind. I know Gosling didn't erupt into loving song, but if that doesn't display emotion I do not know what does. Honestly, if you can't see and feel emotion from that then the emotionless autist is your reflection staring back at you uncomprehendingly. in that scene he was just staring directly forwards for the entire drive with a blank expression iirc
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Apr 18, 2015 23:05
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NESguerilla posted:I liked Drive because it's one of the only movies out there that felt sort of close to No Country For Old Men in it's tone. If that post makes sense to anyone I'd welcome recommendations along those lines. Michael Mann's 'Thief' with James Caan. Amazing movie.
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Apr 18, 2015 23:18
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LORD OF BUTT posted:Synth-heavy soundtrack, lighting heavy on bright neon colors, emotionless killer protagonist... The Guest and Drive aren't super similar but I can definitely see the comparison Yes you are correct (way to spark the Drive discussion over the last page). I just kind of went straight to the 80's influences with The Guest. I checked and The Guest is still only for rental, but I think I convinced myself to buy the bluray.
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Apr 19, 2015 00:25
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Standard being shot is still my gold standard (heh) of "jump scare" moments. I've seen the movie at least 13 times, but having seen it four times in the theater I'm still killed every single time it happened. Drive really is loving incredible. GonSmithe fucked around with this message at 03:52 on Apr 19, 2015 |
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Apr 19, 2015 03:50
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I just watched Runaway Train and holy poo poo, what a hidden gem. This is a film I had never heard about or seen, and everything about the film's description leads you to believe it's another faceless 1980s low-budget action film that would have aired on TV in the middle of the day back in the 90s. You know, the kind that nobody watches except as background noise. After all, it was produced by Cannon Films. These are the people who produced such classics like the Death Wish sequels, Breakin' II: Electric Boogaloo, and a few Chuck Norris films like Delta Force. An action film from these guys is not likely going to have high production values. But it seems like it would at least be interesting for 100 minutes. Then, the opening credits gave me a little hope that this might be more than just a fun diversion. When I saw the credit "Based off a screenplay by Akira Kurosawa," there was a chance that this film might be something more. After Kurosawa's films are interesting and filled with quality characters, and if done right... Well, it turns out this was based off of a screenplay that Kurosawa wrote but wasn't able to produce because he couldn't get the money for it. So you're not seeing someone rehash Yojimbo or Sanjuro or Seven Samurai or something like that. Basically, if Kurosawa produced a low-budget action film in the 1980s, this is what you would get, and my god, it really works. Why? Because of the characters. The people adapting the film understood that what really drives a Kurosawa film are the characters. After all, Sanjuro is an interesting character not because Mifune was a great actor who could go from zero to 100 in a frame of film, but because he was a guy with severe principals who stood against the world he was fighting for. And we end up with a film filled with great little characters. The film centers around two convicts from an Alaskan maximum security prison, Buck and Manny. Buck is a young, inexperienced, and idiotic prisoner sent in for statutory rape. He, along with the rest of the prisoners, idealized Manny because he keeps beating the system. He's escaped from prison many times, and he won a lawsuit against the prison for keeping him in solitary confinement. So the warden releases Manny into the yard, and tries to set him up so he either gets killed or sent back into the hole. However, Manny decides that he's going to break out. He intends to bring his older brother along, but his older brother can't do it anymore. He has a life in prison. He has the respect of the prisoners and he knows he can't make it on the outside. However, his older brother sets up his escape with Buck, who, thanks to his laundry duties, can smuggle Manny out of the cell-blocks. On the night Manny makes his escape, Buck decides that he's not going to stay behind and tags up with Manny to escape prison. The pairing reminds me of the pairing in the Hidden Fortress. You have this adventure film being told by two characters who we would see as being lower characters. Buck is very slow and childish. He's not really prepared to escape from prison. Manny is a violent, harden convict. Many people would have no problem seeing him locked away forever. And so the film sets off an adventure with these two characters. They end up sneaking onto a train. However, the conductor has a heart-attack, and attempts to throw the break, but he doesn't disengage the engine. The breaks fail, and now, the engine is speeding along with nobody at the wheel. And these two convicts aren't aware that there's nobody at the wheel. The film does a really good job of keeping us engaged with action, and having the characters behave in a realistic way. For example, early on, the head of the railroad tells the workers to derail the train. However, when the worker in charge of switching the tracks hears the whistle blow, the people in charge of the command center decide to focus on trying to save the lives of the people who must be on board. In the end, you feel for these characters. They grow, they change. They evolve. They're multifaceted. At one point, Manny offers real advice to Buck, and in another, he's berating Buck for failing to do something that's next to impossible. The dialog is well written, and there's touches that could easily be missed. For example, the warden says of Manny "He's not a human being, he's an animal." Later on, during a conflict on the train, a worker who was napping on the train before it took off says to Manny, "You're an animal!" And he shoots back "Worse, I'm a human being." The humanity of these characters is a core concept of the film. Seriously. Do yourself a favor and watch it. It's a little slow in the prison scenes. That's the closest it feels to being a standard 80s action film. But once you're on the train, man, you're in a for blast. It's great it's on Netflix, and it's sad that the film could be tucked away. If you don't believe me, here's Roger Ebert: http://www.rogerebert.com/reviews/runaway-train-1986 And let's just get Soul Asylum out of the way so we can move on with our lives: https://www.youtube.com/watch?v=NRtvqT_wMeY Seriously. Watch this film.
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Apr 19, 2015 03:57
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Has anybody else signed up for HBO Now? I watched The Grand Budapest Hotel but the stream was a bit weird; oftentimes it looked like the frame rate was below 20. The odd thing was that the picture quality never degraded. I wonder if it was just badly encoded, but that seems somewhat unlikely. I have to say that the Apple TV app for it is fairly lackluster compared to Netflix. You can't add TV series to your watchlist and it doesn't even seem to track which episodes you've seen. I also realized that I miss the Netflix ratings. They seem to do a good job of predicting how I would rate a movie (and yet the actual recommendations are garbage  ). Browsing though movies I've never heard of without that clue feels a bit limited.
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Apr 19, 2015 05:02
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LORD OF BUTT posted:It's so loving great that we're still talking about Drive in-depth like almost 4 years after it came out. I'm not being ironic, I feel vindicated for it being one of my favorite movies if anything.
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Apr 19, 2015 05:19
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Runaway Train is great and it's crazy that it came from a company with as dependably bad an output as Cannon.
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Apr 19, 2015 06:38
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david_a posted:Has anybody else signed up for HBO Now? I watched The Grand Budapest Hotel but the stream was a bit weird; oftentimes it looked like the frame rate was below 20. The odd thing was that the picture quality never degraded. I wonder if it was just badly encoded, but that seems somewhat unlikely. There have been people complaining about stream problems during peak hours, so I think they're just having load issues (especially with all the people using their free trial right now). It seems like their system doesn't have different quality feeds to bump down to when there's bandwidth problems, which is monumentally stupid, but I guess they didn't consider anyone would ever want to watch on anything but the H-est of Ds.
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Apr 19, 2015 07:42
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Coaaab posted:I'm just still like, they got THAT cast all together in ONE movie. And somehow managed to predict that Oscar Isaac and Carey Mulligan would have kickass careers, too.
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Apr 19, 2015 10:43
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Carey Mulligan already had an Oscar nomination at that point.
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Apr 19, 2015 15:40
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I just saw that Tapeheads is streaming on Netflix. It's a lovely movie but it's interesting as an 80s time capsule.quote:After losing their jobs as security guards, best friends Ivan (John Cusack) and Josh (Tim Robbins) start a music video production company called "Video Aces". When they meet their childhood heroes, 1970s soul duo The Swanky Modes (Sam Moore and Junior Walker), Ivan and Josh concoct a scheme to give them a new audience by hijacking a Menudo concert, getting them to perform in Menudo's place, and broadcasting it live across the country on a television satellite hook-up.
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Apr 19, 2015 16:54
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Mst3kmann posted:Carey Mulligan already had an Oscar nomination at that point. ...I'll be damned, she did. I also forgot Never Let Me Go was before that. For some reason my brain thought that Doctor Who ep was like the only notable thing she did before Drive, and everything else was after. 
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Apr 19, 2015 19:36
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morestuff posted:I just saw that Tapeheads is streaming on Netflix. It's a lovely movie but it's interesting as an 80s time capsule. That's awesome, Tapeheads has always been tough to watch legally. And I think you're selling it short. I found it legitimately really funny and pretty unique with its humor. Definitely not a typical 80s comedy. I actually avoided watching it for years because it never seemed to be held in high regard, but I ended up loving it. edit: I will say though, I hate that the plot makes no sense.
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Apr 19, 2015 20:30
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Tapeheads is goofy as gently caress. I have no idea how I never heard of it before.
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Apr 19, 2015 21:11
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Be on the lookout for a Jello Biafra cameo at the end of Tapeheads. He even says his own name.
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Apr 19, 2015 21:47
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i might have to watch that. i was waaaaaaaaay too into Jello Biafra as a teenager.
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Apr 19, 2015 22:42
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Uncle Boogeyman posted:i might have to watch that. i was waaaaaaaaay too into Jello Biafra as a teenager. Big shock there. More to the point, I'm surprised so many of you guys hadn't heard of Tapeheads.
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Apr 20, 2015 04:54
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Wiggles Von Huggins posted:Be on the lookout for a Jello Biafra cameo at the end of Tapeheads. He even says his own name. Only someone who was way into punk/alternative music in 1988 will even get the joke he makes, too. "I'll do to you what we did to Jello Biafra!" as far as I know could only refer to the PMRC and the lawsuit over the artwork for Frankenchrist.
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Apr 20, 2015 15:29
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HUNDU THE BEAST GOD posted:Big shock there. ouch
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Apr 20, 2015 15:37
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It's been up for a while, but I finally got around to watching both series of Black Mirror on Netflix. I though the whole thing was rad as hell. Though it's been criticized for focusing too much on advances in technology being the real horror facing mankind, I found the two episodes that focused on interpersonal relationships to be the most powerful. More haunting than scary. I can see the comparisons to The Twilight Zone, which I have loved since I was a youngin. The first episode actually almost put me off because I couldn't take it seriously but that had more to do with my political views: the British royal family is completely useless and certainly not worth loving a pig over in any circumstances. I couldn't stop chuckling throughout the entire thing. But it redeemed itself immediately in the next episode. If you are a fan of horror sci fi, it's a pretty great blend of the two. Every episode has an agenda, but even when it's heavy handed, it is highly entertaining. I'm looking forward to catching the Christmas special with Jon Hamm sometime. Also watched The Babadook the other night and I was sort of disappointed. It was ok but not as great as some of the hype surrounding it would lead me to believe. And I love modern horror and pay attention to a lot of the films that get mainstream attention within that genre get; a few weeks ago I saw It Follows in a theater and I think now that it's a better film than The Babadook by a margin, for those who have seen both. The kid really just put me way off, I couldn't sympathize with him at all. It wasn't bad by any stretch, though...Did anyone else get a Slendy vibe from the Babadook monster itself? I'm really looking forward to seeing A Girl Walks Home Alone at Night this week, if it gets put up. I think tomorrow it's going up, maybe?
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Apr 20, 2015 21:55
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Temper your expectations for Girl. It's more of a western than a horror movie and more of a shoe-gaze romance than both of those two combined. Though if you like watching people skate-board to a Romanian pitchfork playlist then treble your expectations.
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Apr 21, 2015 02:12
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forever whatever posted:Did anyone else get a Slendy vibe from the Babadook monster itself? Leaving aside the metaphor in that movie, they are both bogeymen who stalk and then "get" you.
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Apr 21, 2015 02:17
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