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Torgo wrote:
Nighthawks (1981) - 5/10. This is a passable crime thriller about two New York cops (Sly Stallone and Billy Dee Williams) playing a cat and mouse game with a German terrorist (Rutger Hauer in his American film debut). When it was over, I felt I had watched a French Connection wannabe, and to my surprise, it was originally planned as the third movie in the series, but the filmmakers rewrote it after Gene Hackman passed on it. While The French Connection reinvigorated its genre, this movie doesn't do anything you haven't seen before with it. As a result, it's predictable to a fault, so much so that my involvement was on life support when the third act started. The movie also gets demerits for wasting the charisma and talent of Billy Dee Williams, Persis Khambatta and Lindsay Wagner. Thankfully, Hauer's villain, Nigel Davenport's terrorism expert, Keith Emerson's score and a tense scene at a nightclub save this movie from being completely forgettable.



I love that movie. Hauer is a stone cold badass and Williams is smooth as silk.

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Tue Jul 10, 2018 11:50 am
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ThatDarnMKS wrote:
The application of this is essentially turning the lower class into happy docile slaves that are cheaper and more disposable than robotics and other technology.

The plot revolves around a miner that starts to malfunction and lose sight of his "dream" and starts plotting to violently put an end to his struggle.


The whole "cog breaking out of the machine" trope is a sci-fi concept I almost always enjoy. When done well it can raise interesting questions about the ways in which we participate in larger social "machinery".


Tue Jul 10, 2018 11:51 am
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Godzilla vs. Megaguirus - 5/10

King Kong vs. Godzilla - 7/10

Godzilla (2014) - 9/10

Justice League - 7/10

Ant-Man and The Wasp - 7/10

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Tue Jul 10, 2018 11:51 am
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Takoma1 wrote:

The whole "cog breaking out of the machine" trope is a sci-fi concept I almost always enjoy. When done well it can raise interesting questions about the ways in which we participate in larger social "machinery".

That's the goal. I'm frequently fascinated by the way humans like to brand things that have terrible ramifications in very positive lights and pretend what they're doing is good. I'm just trying to find a "fun" way to explore that angle and some of the lessons I've learned studying American slavery and the War on Drugs.

We're hoping to finish the first draft by the end of summer. It's been an interesting process that also feels "futuristic" as we're using freeware called Celtx that lets both of us write and update in the cloud instantly, on phone, tablet and laptop.


Tue Jul 10, 2018 12:05 pm
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ThatDarnMKS wrote:
That's the goal. I'm frequently fascinated by the way humans like to brand things that have terrible ramifications in very positive lights and pretend what they're doing is good. I'm just trying to find a "fun" way to explore that angle and some of the lessons I've learned studying American slavery and the War on Drugs.

We're hoping to finish the first draft by the end of summer. It's been an interesting process that also feels "futuristic" as we're using freeware called Celtx that lets both of us write and update in the cloud instantly, on phone, tablet and laptop.


I remember when they had things called typewriters.


Tue Jul 10, 2018 1:25 pm
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ski petrol wrote:

I remember when they had things called typewriters.


I have students that don't know what the save icon actually is.


Tue Jul 10, 2018 1:31 pm
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ThatDarnMKS wrote:

I have students that don't know what the save icon actually is.



A friend of mine is a teacher - none of his students could identify what a picture of a rotary phone was.

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Tue Jul 10, 2018 11:32 pm
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Death Proof wrote:


A friend of mine is a teacher - none of his students could identify what a picture of a rotary phone was.


I'll have to try that. I once asked my students if they knew why people said "hang up the phone." One student knew and it was met with a ton of surprised "ooooooooohs"


Wed Jul 11, 2018 4:10 am
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ThatDarnMKS wrote:

I'll have to try that. I once asked my students if they knew why people said "hang up the phone." One student knew and it was met with a ton of surprised "ooooooooohs"


That's pretty funny. I never thought commonplace parlance from my own lifetime would eventually be old timey expressions people didn't know the origin of.

What grade are you teaching?


Wed Jul 11, 2018 5:08 am
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Charles wrote:

That's pretty funny. I never thought commonplace parlance from my own lifetime would eventually be old timey expressions people didn't know the origin of.

What grade are you teaching?


Currently 6th but when I did that experiment, it was 8th. I was aiming for high school this year but it didn't work out. Seriously thinking of going back to school to try and get a teaching job at a college. 2 year would be nice.


Wed Jul 11, 2018 6:32 am
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Jumanji: Welcome to the Jungle - 7/10 - This was a straight up popcorn movie. It takes a half hearted and tepid swing at a teen empowerment message but nothing that hasn't been seen in countless other films. But the cast is winning and they appear to be having fun. It's enjoyable and while not exactly ground breaking it deserves kudos for not rehashing the original.


Wed Jul 11, 2018 3:42 pm
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boojiboyhowdy wrote:
Jumanji: Welcome to the Jungle - 7/10 - This was a straight up popcorn movie. It takes a half hearted and tepid swing at a teen empowerment message but nothing that hasn't been seen in countless other films. But the cast is winning and they appear to be having fun. It's enjoyable and while not exactly ground breaking it deserves kudos for not rehashing the original.


Do check out Rampage for some more fun popcorn movie action starring Dwayne Johnson.


Wed Jul 11, 2018 4:45 pm
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ski petrol wrote:
Do check out Rampage for some more fun popcorn movie action starring Dwayne Johnson.
That's on my "Dwayne Johnson punches stuff" watchlist. Giant wolf, crocodile and gorilla? Check. Then I'll probably move on to his magnum opus where he incapacitates a skyscraper via the People's Elbow.


Wed Jul 11, 2018 11:24 pm
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I think he does the Rock Bottom in The Rundown.


Thu Jul 12, 2018 1:53 am
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My informed conclusion on The Rock is that he's B- to the extreme. He's to movies what Huey Lewis and the News is to music: blandly offensive, slightly catchy and never annoying enough to make you want to change the channel.

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Thu Jul 12, 2018 2:17 am
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Lara Croft Tomb Raider 2: The Cradle of Life (B)

It's cheesy and schlocky and dumb and everything bad in every part, but the whole is good, and not in a so-bad-it's-good way. It's probably mostly nostalgia though, although it would be nice if we could go back to that time where realism and plausibility weren't the benchmark for whether or not a movie is good outside of superhero flicks. With all those ridiculous set pieces, non sequitur of how people got from a shooting in the middle of a Shanghai to getting to England for whatever to bringing a bunch of soldiers near Kilimanjaro in Africa in less than 48 hours while being fully knows by the secret services. I don't think anything still carries that early 2000s torch outside of Fast & Furious. The soundtrack is very nice as well.

I'd crank it up all the way to an A-, but there are so many asses in the world and Gerard Butler decided to suck every single one of them during filming. There isn't a single part he's in where his character wouldn't improve the movie by not being there or by being replaced.


Thu Jul 12, 2018 5:41 am
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Yellow Submarine is currently in theaters, folks. This was my millionth viewing but first on the big screen. (Well, sort-of-big screen anyway.) Warmed my heart to see some kiddies in the audience enjoying the weirdness. Good times. Might even go again this weekend.

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Thu Jul 12, 2018 12:27 pm
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Charles wrote:
Lara Croft Tomb Raider 2: The Cradle of Life (B)

It's cheesy and schlocky and dumb and everything bad in every part, but the whole is good, and not in a so-bad-it's-good way. It's probably mostly nostalgia though, although it would be nice if we could go back to that time where realism and plausibility weren't the benchmark for whether or not a movie is good outside of superhero flicks. With all those ridiculous set pieces, non sequitur of how people got from a shooting in the middle of a Shanghai to getting to England for whatever to bringing a bunch of soldiers near Kilimanjaro in Africa in less than 48 hours while being fully knows by the secret services. I don't think anything still carries that early 2000s torch outside of Fast & Furious. The soundtrack is very nice as well.

I'd crank it up all the way to an A-, but there are so many asses in the world and Gerard Butler decided to suck every single one of them during filming. There isn't a single part he's in where his character wouldn't improve the movie by not being there or by being replaced.
The one time I watched Cradle Of Life in a theater back in '03, I remember being almost completely bored out of my mind by it (and this was someone who enjoyed the original TR movie as a 13 year-old), and other people in the audience got so fed up with its 2 & 1/2 hour running time, they actually started getting and leaving before it was even over (which wasn't helped by the solid half hour of commercials/trailers they played before the movie even started, but still), but to each his own.

:D

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Thu Jul 12, 2018 2:21 pm
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The Immortal Story - 9/10. Orson Welles' final dramatic feature to be released, like Citizen Kane, stars Welles as a decrepit, wealthy and lonely man who realizes that his values are misplaced much too late. Both Kane and this movie's Charles Clay have hang-ups when it comes to friendship, love, intimacy, etc., but the one thing this movie highlights is that Clay never learned how to appreciate the value of a good story (he plainly admits that he prefers facts to pretense and prophecies). In a last-ditch effort to right this wrong, Clay hires local mistress Virginie (Jeanne Moreau) and destitute sailor Paul (Norman Eshley) to reenact a local legend about a rich man who pays a sailor to impregnate his wife. One thing Clay doesn't realize is that Virginie has plans of her own that are borne from bad blood between Clay and her family. However, it is Clay's realization that his project did everything that it wasn’t supposed to do, i.e. turn prophecy and pretense into fact, that really seals his fate. Since it's 60 minutes long and it mostly takes place at Clay's mansion, this is a particularly efficient movie - possibly the most efficient one I've seen since Primer - but its efficiency is in no way a drawback. Every aspect of the filmmaking from the editing to the acting give the movie a poignancy that similar movies I've seen with likely ten times its budget don't match. There's also an efficiency of emotion - this is only movie I can think of where nobody smiles - but strange as it may seem, the movie is all the better for it since all that reservation reflects how soul-crushing it is to be and to be around a man like Clay. While it's not on the same level as Kane and Chimes at Midnight, it's still an engaging expression of Welles' love of stories, not to mention his frustration with having to contend with the likes of Charles Clay to put them in theaters.

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Fri Jul 13, 2018 2:17 am
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The Mysterious Doctor - 6/10 - This 1943 offering is probably most noteworthy for it's 56 minute running time. Coming in second is a headless ghost who spends most of it's downtime in an abandoned tin mine. Then there's the local innkeeper/bartender who sports this sort of medieval executioners hood. Because he stood too close to a lit stick of dynamite and (I'm assuming) blew his face off. That's an attention grabber. There are numerous decrapitations and fog shrouded moors and, this being wartime England, a Nazi angle. I'm making it sound waaaay more interesting than it actually is. But hey, 56 minutes.


Sat Jul 14, 2018 2:25 pm
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Mohawk sounds like a project made to appeal to me . Mohawk American Indians on the run with a British soldier being hunted by American soldiers hell-bent on revenge, set against the backdrop of the War of 1812. A minimalist cat and mouse thriller complete with strong violence and an anachronistic digital score. Even several of the actors are prevalent bit players in the Indie film circuit.

Sadly, the film is utterly incompetent. Those aforementioned actors have no place in a period piece. Accents are all over the place with the Americans sounding like Southerners, the British sounding like Northerner and every other Mohawk having an accent while the lead has none. This is especially frustrating as one of the lead characters is a translator but none of the Mohawk ever seen to speak any other language than perfect English.

The plot is hackneyed B pulp nonsense that would be forgivable if anything was technically well done. Sadly, the film's budget undercuts everything. The fire, the costumes, the perpetual woods. At no point does anything look or feel credible. It has the feel of an early YouTube video that's been mass released. It's sad because on paper, I think these guys, who made We Are Still Heee (which had similar issues but went bananas in the climax and won me over) had great ideas and were telling a story from a perspective that I really want to see.

But they botched it and I can't even recommend it for the few minor strengths it does have as it's a tedious slog. No idea how this has an 80 percent tomatometer.


Sun Jul 15, 2018 3:12 am
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ThatDarnMKS wrote:
Mohawk sounds like a project made to appeal to me . Mohawk American Indians on the run with a British soldier being hunted by American soldiers hell-bent on revenge, set against the backdrop of the War of 1812. A minimalist cat and mouse thriller complete with strong violence and an anachronistic digital score. Even several of the actors are prevalent bit players in the Indie film circuit.

Sadly, the film is utterly incompetent. Those aforementioned actors have no place in a period piece. Accents are all over the place with the Americans sounding like Southerners, the British sounding like Northerner and every other Mohawk having an accent while the lead has none. This is especially frustrating as one of the lead characters is a translator but none of the Mohawk ever seen to speak any other language than perfect English.

The plot is hackneyed B pulp nonsense that would be forgivable if anything was technically well done. Sadly, the film's budget undercuts everything. The fire, the costumes, the perpetual woods. At no point does anything look or feel credible. It has the feel of an early YouTube video that's been mass released. It's sad because on paper, I think these guys, who made We Are Still Heee (which had similar issues but went bananas in the climax and won me over) had great ideas and were telling a story from a perspective that I really want to see.

But they botched it and I can't even recommend it for the few minor strengths it does have as it's a tedious slog. No idea how this has an 80 percent tomatometer.

You're not alone, here are my comments from a few months ago:
Captain Terror wrote:

This one's got a pretty high Tomatometer, but I just didn't connect with it at all. It's from the director of We Are Still Here which I mostly liked. I don't think it's fair to criticize a film for being low-budget, but in this case everything looked and felt cheap which I do think is a valid complaint. Everything from the script to camerawork and performances all seemed second-rate somehow. I was never once convinced that any of this was happening in 1814, for starters. Its a hard thing to explain, since most of the action takes place in the forest, and surely forests haven't become dated in the ensuing centuries. Maybe it's just me.

Anyhow, the story is about some surly US Soldiers who encounter a Mohawk village. Much bleeding and bone-breakage ensues. I'm always up for a good revenge tale, but just wasn't invested enough in any of the characters to enjoy the revenge when it happens. I recognized the message the film is trying to get across, so it's not like I didn't "get" it, I just didn't find any of it compelling. Oh well, lots of others seem to like it so don't take my word for it. That's my 2 cents.

The high T-Meter had me concerned that I was missing something, but maybe not. My biggest issue was the "not credible" part you mentioned. Again, I don't know how to film a forest to make it look like 1814, but this movie definitely didn't do it. About the only positive I can remember from my viewing in April is that the lead's face paint was badass. Hardly a recommendation.

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Sun Jul 15, 2018 4:42 am
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Captain Terror wrote:
You're not alone, here are my comments from a few months ago:

The high T-Meter had me concerned that I was missing something, but maybe not. My biggest issue was the "not credible" part you mentioned. Again, I don't know how to film a forest to make it look like 1814, but this movie definitely didn't do it. About the only positive I can remember from my viewing in April is that the lead's face paint was badass. Hardly a recommendation.


I think we're on the exact same page. There are films where budget limitations cause talented people to find clever fixes for issues that allows the film to thrive and then there are films harmed by the lack of budget because the cast and crew are not talented enough to realize a vision in face of these limitations. This is clearly a case of the latter. Not enough talent or money to make this thing work.


Sun Jul 15, 2018 6:45 am
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ThatDarnMKS wrote:
Those aforementioned actors have no place in a period piece. Accents are all over the place with the Americans sounding like Southerners, the British sounding like Northerner and every other Mohawk having an accent while the lead has none. This is especially frustrating as one of the lead characters is a translator but none of the Mohawk ever seen to speak any other language than perfect English.

It was too long ago for me to remember specifics but I remember thinking the lead Mohawk girl was using terms/phrases that were anachronistic for the time period, let alone the Mohawk tribe. Just an overall sense of a lack of effort on everyone's part.

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Sun Jul 15, 2018 9:36 am
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Captain Terror wrote:
It was too long ago for me to remember specifics but I remember thinking the lead Mohawk girl was using terms/phrases that were anachronistic for the time period, let alone the Mohawk tribe. Just an overall sense of a lack of effort on everyone's part.

It didn't seem like any effort was made at authenticity but it also didn't relish in the inaccuracies enough for them to feel like anything other than laziness. It felt like the entire thing was made from grade school memories of history class rather than anything that was researched. I think you put your finger on the pulse of my issue: it wasn't so much the lack of talent (though that was clear) but the laziness on display that turned me on the film.


Sun Jul 15, 2018 12:13 pm
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Kill the Irishman - 5/10. This is a by the numbers (no pun intended) gangster movie in the mold of Goodfellas about real-life criminal Danny Greene, an Irish union leader who essentially ran Cleveland in the '60s and '70s. Besides derivative, the other word I'd use to describe it is repetitive: for seemingly 90% of its running time, when it's not showing montages of Danny's crew beating up rivals, it's showing them planting car bombs and settling them off (with bad CGI fires recalling the one in Maps to the Stars, no less). The 10% left over to develop Danny as a character is no less repetitive in that its mostly scenes of him bonding with thinly-drawn molls or the unintentionally funny macho posturing fests that are his meetings with Italian rivals. The Detroit locations are well-filmed and historically accurate and the cast, which includes Christopher Walken, Vincent D'Onofrio, Val Kilmer and Ray Stevenson (who plays Greene), does the best it can with the material. Even so, it's simply not enough frosting to make this very plain cake palatable.

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Sun Jul 15, 2018 10:55 pm
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The Disembodied - 4/10 - This is yet another from TCM's recent voodoo themed day. It opens with a sultry looking brunette (Alison Hayes) garroting a voodoo doll then double checking her work which involves an older guy in the next room. She's a conscientious voodoo priestess after all and the old guy is her doctor husband. Two guys show up with their lion mauled friend and she starts flirting with the male lead, Paul Burke. Not much happens outside of her alternating between vamping and making death threats. She also dances at the occasional voodoo ceremony and people throw dead chickens and ceremonial daggers at her feet. Applause being frowned upon I suppose. Another movie that's much improved by having other people around to help you razz it.


Mon Jul 16, 2018 6:02 am
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Oh yeah, and I've been meaning to share this for some time now, but the reason why I haven't been posting as many full reviews of recent releases this year as last is, well, because I've been writing less full reviews of recent releases this year (sorry, a somewhat loss of inspiration was bound to happen eventually; hey, let's see you do any better). I am still trying to write shorter, one-paragraph-ish length write-ups for everything I see though, even though I don't always post those here either, as I want to try to save those for another year-in-review thread in January. Never to fear though, because if you don't want to wait that long to see my recent release writings, I have been uploading them on my Letterboxd, which I link to in my continually updated signature, so just keep an eye on that if you want to check 'em out 8-)

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Mon Jul 16, 2018 11:00 am
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Stu wrote:
Oh yeah, and I've been meaning to share this for some time now, but the reason why I haven't been posting as many full reviews of recent releases this year as last is, well, because I've been writing less full reviews of recent releases this year (sorry, a somewhat loss of inspiration was bound to happen eventually; hey, let's see you do any better). I am still trying to write shorter, one-paragraph-ish length write-ups for everything I see though, even though I don't always post those here either, as I want to try to save those for another year-in-review thread in January. Never to fear though, because if you don't want to wait that long to see my recent release writings, I have been uploading them on my Letterboxd, which I link to in my continually updated signature, so just keep an eye on that if you want to check 'em out 8-)

I typically just make a post on here, because I'm somewhat motivated to chat with y'all, then take what I wrote and paste it into letterboxd.


Mon Jul 16, 2018 11:45 am
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Ant-Man was a decent bit of fluff. A bit quip-y at times. I've always enjoyed films that play with scale, and so I liked many of those sequences.


Mon Jul 16, 2018 11:49 am
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ThatDarnMKS wrote:
I typically just make a post on here, because I'm somewhat motivated to chat with y'all, then take what I wrote and paste it into letterboxd.
Wait, you have a Letterboxd too? Shoot me a link to your profile/follow me, bro!

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Mon Jul 16, 2018 12:38 pm
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Takoma1 wrote:
Ant-Man was a decent bit of fluff. A bit quip-y at times. I've always enjoyed films that play with scale, and so I liked many of those sequences.

Grrrrr.

Edit: Sorry, was thinking you were talking about AM&tW (sequel). Yes I agree with you about Ant-Man.


Mon Jul 16, 2018 12:44 pm
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Baby Driver - 8/10 - I re-watched this and even though it didn't blow me away like it did the first time there's still a lot here to admire. Most notably the cast. Edgar Wright gets crackerjack performances out of Foxx, Hamm, Spacey, Elgort and Lily James. The soundtrack and especially the editing should also get costar billing.


Mon Jul 16, 2018 1:01 pm
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Ant-Man and the Wasp was good stuff. Wooley is just cranky. That post credit scene shocked my theater.


Mon Jul 16, 2018 2:13 pm
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I really enjoyed Sorry to Bother You. It felt like Atlanta via Gondry/Jonze. I hope to see more from Boots Riley.


Mon Jul 16, 2018 2:40 pm
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Bright - 5/10 - I watched this over the course of a few days but it's the type of movie where that doesn't really matter. The story is so slapdash that pacing and continuity don't really enter into or affect your viewing experience. Someone somewhere got the idea to combine elements of fantasy with a gritty police thriller. And I'll have to admit the premise sounds intriguing enough and even though the fantasy part shows moments of promise the two elements never really gel. One ends up detracting from the other so that it's impossible to buy into it as a whole. Will Smith shows up to do his usual Will Smith shtik as an LAPD patrolman. And Joel Edgerton is never really able to find his character as his Ork partner. I don't know what if any guidance he was getting from director David Ayers but he seems completely lost and uncertain. The movie itself gets past a somewhat rough beginning and settles in but the script just isn't strong enough to close the deal. But then it was written by Max Landis so that should tip people off.


Tue Jul 17, 2018 3:10 am
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The Florida Project

I liked its magnification of the Disney-adjacent kitsch of Orlando and the way it situates poverty on the fringes of prosperity, but otherwise this fails to distinguish itself from a host of generally decent but otherwise samey indie depictions of American poverty. Its saving grace -- the beautiful, unassuming heart of the film -- is Willem Dafoe's saintly manager, who is such an antidote to the slumlord types you expect to see in films like this.

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Tue Jul 17, 2018 7:31 am
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Macrology wrote:
The Florida Project

I liked its magnification of the Disney-adjacent kitsch of Orlando and the way it situates poverty on the fringes of prosperity, but otherwise this fails to distinguish itself from a host of generally decent but otherwise samey indie depictions of American poverty. Its saving grace -- the beautiful, unassuming heart of the film -- is Willem Dafoe's saintly manager, who is such an antidote to the slumlord types you expect to see in films like this.


Having encountered some students who have lived in poverty, and some parents a little too much like the ones in the film, I felt like this was a very strong portrayal of the type of parent-child relationship it was portraying.

If anything, I felt it was almost too positive in terms of portraying the things that kids see or experience when their parent or parents are into shady stuff that involves strangers coming in and out of the home.

This one was a challenging watch for me. I saw some details that resonated with two specific students I've had and that was hard to see. Like you, I appreciated Dafoe's character--not only that people in those positions can be kind and caring, but also the pain of being able to do something, but not enough for people you see in those situations.


Tue Jul 17, 2018 9:23 am
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Yellow Submarine

At its best in the 2nd act, when it's in full on free-associative exquisite corpse mode. Which is to say, I could have done with a lot more of George Dunning and a lot less of The Beatles.

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Tue Jul 17, 2018 11:54 am
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Macrology wrote:
Yellow Submarine

At its best in the 2nd act, when it's in full on free-associative exquisite corpse mode. Which is to say, I could have done with a lot more of George Dunning and a lot less of The Beatles.

The rerelease is coming to my town on the 27th. Is it worth seeing in that format or should I just watch it on Maazon Prime?


Tue Jul 17, 2018 1:06 pm
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Charles Longboat Jr. wrote:
The rerelease is coming to my town on the 27th. Is it worth seeing in that format or should I just watch it on Maazon Prime?


It looks fucking gorgeous, so if you want to see it, I'd recommend seeing the restoration. (The sound was also pretty stellar.)

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Tue Jul 17, 2018 1:15 pm
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boojiboyhowdy wrote:
Bright - 5/10 - I watched this over the course of a few days but it's the type of movie where that doesn't really matter. The story is so slapdash that pacing and continuity don't really enter into or affect your viewing experience. Someone somewhere got the idea to combine elements of fantasy with a gritty police thriller. And I'll have to admit the premise sounds intriguing enough and even though the fantasy part shows moments of promise the two elements never really gel. One ends up detracting from the other so that it's impossible to buy into it as a whole. Will Smith shows up to do his usual Will Smith shtik as an LAPD patrolman. And Joel Edgerton is never really able to find his character as his Ork partner. I don't know what if any guidance he was getting from director David Ayers but he seems completely lost and uncertain. The movie itself gets past a somewhat rough beginning and settles in but the script just isn't strong enough to close the deal. But then it was written by Max Landis so that should tip people off.

I liked this much more than I expected, mostly because the reviews were total ass and the movie was less than total ass. Also, I think Will Smith does this kind of nonsense well. If it didn't try so hard to be about racism, it might have been a little better received.

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Tue Jul 17, 2018 1:18 pm
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Post Re: Recently Seen

Phantom Thread- 8/10

Not quite sure I got it.

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Tue Jul 17, 2018 10:27 pm
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Post Re: Recently Seen

topherH wrote:
Phantom Thread- 8/10

Not quite sure I got it.
Poisonous mushrooms are the way to a man's heart, I think.

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Tue Jul 17, 2018 10:30 pm
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Post Re: Recently Seen

Torgo wrote:
Poisonous mushrooms are the way to a man's heart, I think.


Lol, apparently. Nice music though.

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Z |Gavras, 1969| -
The Confession |Gavras, 1970| +
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The Hateful Eight |Tarantino, 2015| +

+ Recommended


Tue Jul 17, 2018 10:55 pm
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Post Re: Recently Seen

Rock wrote:
I liked this much more than I expected, mostly because the reviews were total ass and the movie was less than total ass. Also, I think Will Smith does this kind of nonsense well. If it didn't try so hard to be about racism, it might have been a little better received.
It has an 84% audience Tomatometer so you're not alone in liking it. As for me I wasn't sorry I watched it but I thought if the two male leads had been changed it would have made for a better movie.

Maybe.


Tue Jul 17, 2018 11:36 pm
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Post Re: Recently Seen

topherH wrote:
Phantom Thread- 8/10

Not quite sure I got it.


Loved it. It's pretty much a story of a dysfunctional relationship. Both Reynolds and Alma can't live with each other, and yet they can't be apart. It's a twisted "love" story where both of them do numerous things to push each other apart, and then pull them back again.

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Wed Jul 18, 2018 1:09 am
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Post Re: Recently Seen

Dragon Inn was dope. Not quite the best wuxia around but top of the line wuxia nonetheless with gorgeous scenery and long take action perfectly frames in Scope.


Wed Jul 18, 2018 3:30 am
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Post Re: Recently Seen

ThatDarnMKS wrote:
Dragon Inn was dope. Not quite the best wuxia around but top of the line wuxia nonetheless with gorgeous scenery and long take action perfectly frames in Scope.


I was having a ridiculous degree of difficulty following the plot. Tell me honestly: is it just me? It was like I understood the dynamics of the individual scenes, but somehow the big picture didn't make a ton of sense to me.


Ya'll: Today I watched the Swedish short film A Burden. I can't stop thinking about it. If you liked World of Tomorrow this gave me similar vibes.


Wed Jul 18, 2018 12:14 pm
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Post Re: Recently Seen

Takoma1 wrote:

I was having a ridiculous degree of difficulty following the plot. Tell me honestly: is it just me? It was like I understood the dynamics of the individual scenes, but somehow the big picture didn't make a ton of sense to me.


Ya'll: Today I watched the Swedish short film A Burden. I can't stop thinking about it. If you liked World of Tomorrow this gave me similar vibes.

It's not just you. The film commicates it's story through name drops of characters we don't know or see briefly and regularly introduces new but seemingly unconnected characters. It all came together pretty cleanly and it felt like eventually the plot was fairly straightforward. It felt more like a Yakuza film than a wuxia in terms of plot delivery and those usually play out better on rewatch once I know the particular beats.


Wed Jul 18, 2018 1:29 pm
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