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Jinnistan wrote:
I guess "only" might minimize the relevatory impact of the change, but it was not a small factor.

I've never been impressed with the story of the film so much, and I don't blame the film as much as my sometimes too-fortunate intuition for the fact that I figured out the twist pretty early on.

about ten minutes actually, when he thinks he's seen the fencing around the walls before


So I didn't take much of a new perspective on this on rewatch, but, for whatever aesthetic reason, the B&W really accentuated the film's more symbolic imagery, placing it firmly in the 40s era of psychological noir/horror, and what I had initially considered an interesting genre experiment I now found to be one of Scorsese's most accomplished genre tributes.


I don't think it's a particularly hard twist to call early on and I think it's predicability has led to much unfair dismissal, but I don't think you can appreciate the nuance in the "reality" of the story and what it's actually doing until a rewatch because while you can suspect and be right about the ending, you won't KNOW until the end. Watching it knowing how all the pieces fit lets you appreciate the different dynamic of every single scene and performance and how complex the film really is.

Ruffalo's performance alone makes it a fascinating rewatch as it is filled with subtle gestures and movements that take on a whole new meaning with specificity. Also, narrative tricks that felt rather trite take one new meaning like the way flashbacks are used to...

Actually show the effectiveness of the approach. Every time he has a flashback, it's not just to give the audience more information at convenient times but comes shortly after something that is designed to trigger it.


One can surely call the broad strokes but I don't think it's possible to call the extreme amount of intricacies, such as certain records playing before the significance is shown.

While I don't quite agree with Crummy that it's the best thing Scorsese has done in 20 years, I appreciate that viewpoint. I'd put Wolf, Silence, Gangs, the Departed and Hugo before it but it's not an insult as much as it is an example of my rabid Scorsese fandom.

I'd certainly place it in the upper crest of Hitchcock homages (though Fuller is certainly felt as well).

I'd also rank it above...

Inception, which upon the rewatch, I realized is shockingly similar. Shutter Island simply shows the "inception" from the perspective of the incepted. It's amazing how much depth is lurking beneath the surface without the need for Nolan's endless exposition.


Mon Jun 04, 2018 11:27 am
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ThatDarnMKS wrote:
Given that it's thematically driven by a failure to recapture the past that ripples through virtually every character arc and the film cribs from the entire OT and shifts the entire focus of the climax to a new perspective, relegating the X wing assault to the background, with a small side character acting in the Luke role, I didn't mean to say such a hollow, cliched hot take.
Well, I do feel that Abrams failed to recapture the past glory of the franchise (at least, not fully) with TFA, but I'm not convinced that that theme actually exists within the story or characters of the film, or at least, if it does, if it was explored sufficiently or added enough substance to justify how much The Force Awakens "borrowed" from the original trilogy, and I wonder if the supposition of such a theme just acts to serve as a mask for the shameless (if generally entertaining) nostalgiabating that's characterized most of Abrams' career. Sure, "The First Order" was obviously trying to follow in the footsteps of The Empire with their New & Improved Version of the Death Star 3.0, yes, Rey is drawn to (and flees from) the allure of Luke's lightsaber, and yes, obviously Kylo was trying to be the new Vader with the wannabe scary, unnecessary facemask, but I don't feel that any of these (or the other) past-biting elements in the film add much to it other than giving me an unwanted sense of cinematic deja vu. I mean, don't get me wrong, I enjoyed TFA, but that was despite its reliance on OT nostalgia, not because of it.

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Mon Jun 04, 2018 12:26 pm
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I haven't seen Silence either (and don't really care to. It's 3 friggin hours and it's about jesus freaks) but I don't really know what I'd consider his best in 20 years. Certainly Wolf echoes some of his classics like Casino and Goodfellas but it's not something I want to see a second time or even third. I really love The Aviator. That might be my favorite. And certainly Gangs of New York gets better on each viewing IMO. Another classic Daniel Day Lewis performance.


Mon Jun 04, 2018 12:43 pm
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Stu wrote:
Well, I do feel that Abrams failed to recapture the past glory of the franchise (at least, not fully) with TFA, but I'm not convinced that that theme actually exists within the story or characters of the film, or at least, if it does, if it was explored sufficiently or added enough substance to justify how much The Force Awakens "borrowed" from the original trilogy, and I wonder if the supposition of such a theme just acts to serve as a mask for the shameless (if generally entertaining) nostalgiabating that's characterized most of Abrams' career. Sure, "The First Order" was obviously trying to follow in the footsteps of The Empire with their New & Improved Version of the Death Star 3.0, yes, Rey is drawn to (and flees from) the allure of Luke's lightsaber, and yes, obviously Kylo was trying to be the new Vader with the wannabe scary, unnecessary facemask, but I don't feel that any of these (or the other) past-biting elements in the film add much to it other than giving me an unwanted sense of cinematic deja vu. I mean, don't get me wrong, I enjoyed TFA, but that was despite its reliance on OT nostalgia, not because of it.


How can you list virtually every plot line of the film (you forgot Han Solo to boot, as well as the "find Luke" plot line) that reinforces the theme and how all of them ultimately fail then claim it isn't there or explored. It's explored for the entirely of the film.

Rey is also nothing like Luke, Finn is nothing like Solo and so forth. Their arcs are in many ways diametrically opposed to the characters they are similar to.

It's lazier criticism than accused laziness of Abrams copy and pasting.


Mon Jun 04, 2018 12:43 pm
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ski petrol wrote:
I haven't seen Silence either (and don't really care to. It's 3 friggin hours and it's about jesus freaks) but I don't really know what I'd consider his best in 20 years. Certainly Wolf echoes some of his classics like Casino and Goodfellas but it's not something I want to see a second time or even third. I really love The Aviator. That might be my favorite. And certainly Gangs of New York gets better on each viewing IMO. Another classic Daniel Day Lewis performance.

I'm an atheist and think Silence is astounding. It's akin to saying you don't want to see Passion of Joan of Arc because it's religious.


Mon Jun 04, 2018 12:45 pm
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Torgo wrote:
To Live and Die in L.A.

I remember being somewhat conflicted on this one, but I always felt similarly about The French Connection as well, so maybe I'm just not a huge Friedkin fan. It has been a while though, so maybe I need to give it a rewatch, though (along with a first-time watch of Sorcerer, which I've heard SO many good things about).
The Nameless One wrote:
I just watched Get Out. I get the zeitgeist around it but I don't think it stuck the landing. The middle act was perfect but it wore into a dull point. Like, I know white people and shit gets even crazier than that. There could've been an extra hour of white people nonsense and that's still scratching the surface. The resolution felt rushed, and, arguably, needlessly violent. I felt a degree of catharsis from the mayhem but I would've preferred more of the sunken place. 8/10
It's interesting to see you (and so many other people) criticize the third act of Get Out and praise the earlier portions of the film, because to me, the first two-thirds of that film were the disappointing parts, with some memorable material but a noticable overall lack of style or atmosphe that would've benefited the material, while the climax, while bloody, wasn't needlessly violent IMO, and it wasn't mindless either, as Peele not only justifiably let loose with the gory, straight-up Horror material he'd been holding back on beforehand, but also did a good job of balancing the carnage with intriguing new details that really added to our understanding of the characters/story, like
the image of the girlfriend scoping out her next victim on her laptop, or the grandmother's voice suddenly coming out of "Georgina"'s mouth.
It was a somewhat lopsided experience for me on the whole, but for different reasons than your own, it seems.
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Upgrade (2018) directed by Leigh Whannell
Good review, DP, and, combined with my knowledge of the film's promising high-concept story and the not too shabby Tomatometer, and I think I'll have to prioritize seeing this over Solo soon.

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Mon Jun 04, 2018 12:45 pm
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ThatDarnMKS wrote:
I'm an atheist and think Silence is astounding. It's akin to saying you don't want to see Passion of Joan of Arc because it's religious.


It's 3 hours long and these days I'm just not into any kind of arthouse cinema.


Mon Jun 04, 2018 12:53 pm
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ski petrol wrote:

It's 3 hours long and these days I'm just not into any kind of arthouse cinema.

Length is often a big hurdle for me to watch a film and it isn't particularly fast but I think it's engaging for the full run of it's 2hr and 40 min runtime. It's actually shorter than several of Scorsese's other recent outcrops.

I feel you on the arthouse. I'm only recently turning back towards more artsy cinema after a long foray into genre, cult and schlock cinema. My viewing has always been pretty spastic but it was hyper focused on them for a long while.


Mon Jun 04, 2018 1:03 pm
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Huh. I saw Get Out twice (so far) and I thought it was fuckin' awesome.


Mon Jun 04, 2018 1:33 pm
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I'm going to need some time to stew on it but, while I liked it a good amount, I don't think the Killing of a Sacred Deer was nearly as good as Dogtooth or the Lobster. Perhaps I'm simply not viewing this from the right perspective but this felt more like an experimental exercise in genre than the high minded previous films. Lanthimos still comes off as ideosyncratic as ever, feeling a bit like the conflation of Wes Anderson, Kubrick and Trier, and his technical prowess is unquestionable. The audio to this is reminiscent of both the Shining and TV's Hannibal, and I mean that as the highest compliment.

That said, the way the themes and social criticism were woven into the fabric of the previous films felt astounding and truly ingenious, lending tons of complexity to already strange premises. This one had a fascinating premise but it just felt far simpler. Perhaps there's a reading of this that will shift me but aside from evoking Greek mythology and stages of grief, it just seems fairly straightforward for a film with such style.


Mon Jun 04, 2018 2:37 pm
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boojiboyhowdy wrote:
Geostorm - 2/10 - Great googly moogly was this ever dumb. Not one remotely original idea or concept in the whole thing and eye rollingly bad performances from just about everyone involved. Including the usually dependable Gerard Butler and Ed Harris. And Jim Sturgess plays the entire movie in a sort of breathless borderline panic. That's the extent of his range. Throw in a terrible script and CGI that wouldn't have looked out of place in an Asylum studios production and you've got this Dean Devlin helmed masterpiece. It is worth watching though if only to make fun of.



As much as I love weather porn, this one even embarrassed me.

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Mon Jun 04, 2018 10:12 pm
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Takoma1 wrote:

I hadn't even heard of this one. Thank you for putting it on my radar--sounds like a perfect summer Friday night watch. Plus I quite like Logan Marshall-Green (especially in The Invitation).



There's two movie review/trailer reaction channels I subscribe to on Youtube: Ecomog Media and Tyrone Magnus - I usually hear about this sort of stuff through them. Ecomog especially has hilarious trailer reactions but it's still a good resource for finding out about movies that fall through the cracks.

I still want to see that Russian Guardians movie.

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Mon Jun 04, 2018 10:14 pm
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Death Proof wrote:
As much as I love weather porn, this one even embarrassed me.
On top of which (and considering the movie title) there's very little actual Geostorming. There's a couple of isolated scenes teasing what's to come then a few minutes of it at the end. Plus I kept hoping Andy Garcia would yell, "Never compare me to the Jaws mayor. Never!"

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...and Tyrone Magnus....
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Mon Jun 04, 2018 11:22 pm
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Haven't seen Geostorm but it was shot down here in New Orleans and I have a few friends who worked on it. They said that it was profoundly apparent that no one in that production had any clue what they were doing. Apparently the production involved a protracted bout of either rewrites or reshoots, or maybe both.

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Tue Jun 05, 2018 2:51 am
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Schrodinger's Geostorm.


Tue Jun 05, 2018 4:15 am
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Solo - 6/10

I'd put this somewhere between the prequels and everything else. Wasn't bad, but just didn't feel much watching it.

Donald Glover and Chewie did steal the show.

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Tue Jun 05, 2018 4:51 am
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Black Panther - 7.5/10 - I don't exactly know what I'm missing because this is yet another Marvel movie that I felt didn't live up to all the hype and critical acclaim. Don't get me wrong though. It's worth watching and the urban (Korean) action sequences are top notch but the 97% Tomatometer is hard to accept. I suppose I fall more in line with the 79% audience score. This is the second MCU flick I felt underwhelmed by, the first being Doctor Strange. I need to watch that one again though. This one I don't think I'll bother with. And as for that 1.3 billion worldwide box office take, that's also a conundrum.


Tue Jun 05, 2018 11:05 am
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Macrology wrote:
Haven't seen Geostorm but it was shot down here in New Orleans and I have a few friends who worked on it. They said that it was profoundly apparent that no one in that production had any clue what they were doing. Apparently the production involved a protracted bout of either rewrites or reshoots, or maybe both.

Mac, you're from New Orleans too? How did I miss that for this long? I've known about Captain Terror for years.


Tue Jun 05, 2018 12:52 pm
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Yup. I'm from Louisiana, been living in NOLA for 8+ years. I've got a whole thread about it.

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Tue Jun 05, 2018 1:59 pm
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Macrology wrote:
Yup. I'm from Louisiana, been living in NOLA for 8+ years. I've got a whole thread about it.

And I've been posting in your thread. What the hell is wrong with me?


Tue Jun 05, 2018 7:56 pm
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I had no idea there were so many New Orleanians posting here. I only recently found out that Captain Oats lives here.

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Wed Jun 06, 2018 4:18 am
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ThatDarnMKS wrote:
while you can suspect and be right about the ending, you won't KNOW until the end. Watching it knowing how all the pieces fit lets you appreciate the different dynamic of every single scene and performance and how complex the film really is.

I'll grant you that on my rewatch, I may have noticed some of these intricacies and credited them to the B&W (again, because of the visual complement to the theme), but the first watch went like this: I did not know, or take seriously at first, my presumption that occurred to me with the fence line. But it was an instance that once I thought of it, it stayed in my head, and it was a matter of watching all of the pieces then align themselves to that presumption. So there were many such intricacies, maybe not all, that I became aware of at the time, even inadvertently. Watching Ruffalo, for example, and his more-or-less subtle glances of pity were definitely part of this, where I could see constant reinforcement of what I had guessed being the outcome. I also saw these things on rewatch, but they had been there in the first watch as well.

I want to stress the inadvertent part, I'm not trying to act all big-headed with my powerful deductive mind. In fact, I feel that one of the worst spoilers that one can give for a film like this is the pre-knowledge of having a twist at all, regardless of what it is. In that sense, I always tend to have a small pocket of my mind considering what this twist will be. Unfortunately, this is largely involuntary. I don't have to mental discipline to keep such thoughts out of my head while watching the film. I'll give you another example: The Sixth Sense (I won't spoiler, because damn, folks). Early in the film as I'm watching Bruce lie wounded, and the scene transitions with no further explanation into somewhere in the future, I thought to myself, in jest, "haha, guess he's one of those dead people the kid sees". And it was only after a couple of extra scenes, where I couldn't help but notice that none of the other characters ever seem to notice him, that I realized, "aw, shit". I don't fault the film here either (although I really think it was more obvious than it had to be), and I am quite convinced that, if anything, my guess actually ended up ruining the film's experience for me. So it isn't something that I actively enjoy trying to do.

ThatDarnMKS wrote:
I'd also rank it above...

Inception, which upon the rewatch, I realized is shockingly similar. Shutter Island simply shows the "inception" from the perspective of the incepted. It's amazing how much depth is lurking beneath the surface without the need for Nolan's endless exposition.

That's an interesting point. I think a crucial difference is that
Shutter Island's depiction of psychological retreat, or the compulsion to immerse into a world of one's own making, is the product of this deep trauma which Teddy has no ability to come to terms with. In Inception, it is Mal who is immersed in her own dream state, but not due to a traumatic reaction (or mental illness) but due to the seduction of the dream-state's autonomous power. Both DiCaprios experience guilt due to his respective wives' deaths, but SI's Teddy has the additional burden of losing his children, which, in this case, is entirely not due to any action of his own. Thus his guilt is inconsolable. At least Cobb still has his children's lives to redeem him (depending on your read of the end, and despite Nolan's cheeky ambiguity, I don't tend to read the Cobb-in-permanent-dream-state theory).


Wed Jun 06, 2018 2:09 pm
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The Killing of a Sacred Deer - 8/10

Finally a Lanthimos film that feels intentionally creepy, rather than a product of a disturbed sense of humor. I happen to like Lanthimos' disturbed sense of humor, but I also enjoy that he can focus his creepier instincts into something that's self-aware that it is, in fact, supposed to be creepy rather than awkwardly obtuse. Even still, there were a handful of scenes, mostly consisting of Farrell looking clueless, where I still had a faint inkling to laugh, but this is probably just residual effects of The Lobster's disaffected absurdity.

Overall, I liked the film very much, despite having to come to terms with the film's
defiantly unexplained supernatural element
as well as a lingering suspicion that Lanthimos actually finds all of this hilarious in his own terrible way.


The Disaster Artist - 7/10

Can't say I'm disappointed that Franco's film fell out of contention due to his unrelated allegations. Franco, as well as much of the film, is an amusing karaoke take on Wiseau and The Room (even including extended side-by-side scenes at the end), but Franco gives Wiseau far more charm, with his constant stoner smirk almost making him adorable in scenes, than is evident from the man himself. I know that with the cooperation of Wiseau comes such compromises in his portrayal were necessary. Franco's film seems to court a lot more good will than The Room does, and since the comparison with Ed Wood is unavoidable, I would have preferred if Franco had made more stylistic nods to Wiseau's film throughout rather than confined to its specific scenes. (It should also be noted that Depp's Ed Wood was also far more amiable and charming than the real man.)

Overall, it's a funny take on the events, but it doesn't really feel very insightful at all. I'll also say that I think Dave Franco gave a much better performance overall, having less to work with but still producing a wider range.


Wed Jun 06, 2018 2:43 pm
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Blade Runner 2049 - 9/10 - I also can't fathom why this under performed at the box office the way it did. I mean, a paltry 92 million domestically? With a worldwide total of 259 million? It may not have been a towering, unmatchable classic or anything but it was certainly in the neighborhood. It certainly had all the elements. Great cast, beautiful visuals, a deliberate and efficient plot and script. Great direction by Villeneuve. It sucks that something like this sinks without much of a trace while lackadaisical, derivative crap like Jurassic World makes almost 1.7 billion globally.


Wed Jun 06, 2018 11:48 pm
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Gangster's Paradise: Jerusalema - 6/10. My desire to check out South African cinema beyond Neill Blomkamp's work led me to this gangster movie, which is loosely based on a criminal who formed a trust to illegally acquire low-income housing projects. This is the strategy Lucky Kenene (Rapulana Seiphemo) uses to not only become exceedingly wealthy, but also become criminal #1 in Hillbrow, a poor section of Johannesburg referred to as Jerusalem because it stands on a hill. While watching Lucky's rise to power, we gain insight into why crime is so rampant in South Africa, that racial equality wasn't exactly established overnight when apartheid ended and how Hollywood movies influence criminals (there's a fun scene where an early employer of Lucky recreates the armored car heist from Heat). Speaking of influences, the story is in the standard, predictable rise and fall mold found in Scarface, Goodfellas and its many imitators. Also, while Seiphemo does a competent job, he can't hold a candle to Pacino's Tony Montana or Liotta's Henry Hill. In other words, this is a movie where the vegetables, i.e. the food for thought, are much more satisfying than the meat, i.e. the "fun" stuff.

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Thu Jun 07, 2018 1:38 am
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Jinnistan wrote:
[b]The Disaster Artist - 7/10

Can't say I'm disappointed that Franco's film fell out of contention due to his unrelated allegations. Franco, as well as much of the film, is an amusing karaoke take on Wiseau and The Room (even including extended side-by-side scenes at the end), but Franco gives Wiseau far more charm, with his constant stoner smirk almost making him adorable in scenes, than is evident from the man himself. I know that with the cooperation of Wiseau comes such compromises in his portrayal were necessary. Franco's film seems to court a lot more good will than The Room does, and since the comparison with Ed Wood is unavoidable, I would have preferred if Franco had made more stylistic nods to Wiseau's film throughout rather than confined to its specific scenes. (It should also be noted that Depp's Ed Wood was also far more amiable and charming than the real man.)

Overall, it's a funny take on the events, but it doesn't really feel very insightful at all. I'll also say that I think Dave Franco gave a much better performance overall, having less to work with but still producing a wider range.


Basically my sentiments, except you probably enjoyed it more than me. It was a diversion, it was a passable hour and a half, but it wasn't very good. And I thought Franco's performance, while intermittently amusing, was pretty shit.


Thu Jun 07, 2018 1:44 am
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It's a good impression and not much more, which probably makes it his best performance (or least obnoxious, at least).

Agreed with Janson that it would have been better if Franco method directed in Wiseau's style, but the movie is reasonably entertaining as is.

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Thu Jun 07, 2018 2:43 am
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Rock wrote:
It's a good impression and not much more, which probably makes it his best performance (or least obnoxious, at least).

Agreed with Janson that it would have been better if Franco method directed in Wiseau's style, but the movie is reasonably entertaining as is.

Have you seen 127 Hours?


Thu Jun 07, 2018 2:54 am
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Jinnistan wrote:
The Killing of a Sacred Deer - 8/10

Finally a Lanthimos film that feels intentionally creepy, rather than a product of a disturbed sense of humor. I happen to like Lanthimos' disturbed sense of humor, but I also enjoy that he can focus his creepier instincts into something that's self-aware that it is, in fact, supposed to be creepy rather than awkwardly obtuse. Even still, there were a handful of scenes, mostly consisting of Farrell looking clueless, where I still had a faint inkling to laugh, but this is probably just residual effects of The Lobster's disaffected absurdity.

Overall, I liked the film very much, despite having to come to terms with the film's
defiantly unexplained supernatural element
as well as a lingering suspicion that Lanthimos actually finds all of this hilarious in his own terrible way.

I laughed at a handful of moments. Hell, even at the very end when it comes to its perfectly cowardly, pathetic conclusion. That kid was a perfect creep and Alicia Silverstone threw me for a loop.


Thu Jun 07, 2018 3:50 am
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ThatDarnMKS wrote:
Have you seen 127 Hours?

No sir. Are you challenging my completely unedumacated opinion?

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Thu Jun 07, 2018 6:32 am
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Rock wrote:
No sir. Are you challenging my completely unedumacated opinion?

It's possible!!!

Seriously, though. Check it. One of Boyle's better works and made me a Franco fan.


Thu Jun 07, 2018 9:12 am
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Ergill wrote:
I laughed at a handful of moments. Hell, even at the very end when it comes to its perfectly cowardly, pathetic conclusion. That kid was a perfect creep and Alicia Silverstone threw me for a loop.


Same. I don't think Lanthimos' sense of humor is absent. As I mentioned in my write up, I find his direction of actors to get reminiscent to Wes Anderson. It seems to embrace artificiality and detachment. The humor is just pitch black.

Almost every interaction between the kid and others was laced with awkward humor and menace in equal parts.


Thu Jun 07, 2018 9:14 am
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ThatDarnMKS wrote:
It's possible!!!

Seriously, though. Check it. One of Boyle's better works and made me a Franco fan.

I second that. It's a really good film.

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Thu Jun 07, 2018 9:15 am
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ThatDarnMKS wrote:
Length is often a big hurdle for me to watch a film and it isn't particularly fast but I think it's engaging for the full run of it's 2hr and 40 min runtime. It's actually shorter than several of Scorsese's other recent outcrops.

I feel you on the arthouse. I'm only recently turning back towards more artsy cinema after a long foray into genre, cult and schlock cinema. My viewing has always been pretty spastic but it was hyper focused on them for a long while.


There are bad arthouse/independent films; there are good mainstream films.

On length, I'm reminded of the old Roger Ebert quote: "No good film is too long, no bad film is too short."

Although at first glance, the length of Silence could be a factor. But I've noticed that two of my three best experiences last month were films of some length. The restored Metropolis ran 2 and a half hours and Om Shanti Om (basically, it's the Avengers of Bollywood) ran 2 hours and 42 minutes. Bringing Up Baby was shorter at 1 hour and 42 minutes.

More than anything, I tend to be more scattered in my movie viewing. But Thief's monthly list has led me to organize and focus more which has led me to go after films I'd probably just pass by, frankly.


Thu Jun 07, 2018 9:54 am
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Also, I feel like Abrams kept the spirit of Star Wars alive with The Force Awakens. Much like what he did with Star Trek, he made a solid reboot of an ailing franchise.

Maybe he can save Fantastic 4?


Thu Jun 07, 2018 9:59 am
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Prometheus, 2012 (C-)
, 2nd watch

It tries to tell a largely allegorical story (I think,) but not very well and the fact that it tries to be sciency and realistic and uses so many stock characters means that nothing really meshes between the theme and the structure and that, to me, seems to be the cause of most of the problems. Not that unpleasant to watch though, just a waste.


Thu Jun 07, 2018 12:02 pm
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Loves me some James Franco. Loves me some Yorgos Lanthimos. Hey they should make a movie together.


Thu Jun 07, 2018 12:28 pm
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crumbsroom wrote:
And I thought Franco's performance, while intermittently amusing, was pretty shit.

It was pretty SNL-level, and he didn't have a sense of any of Wiseau's menace.

Rock wrote:
Agreed with Janson that it would have been better if Franco method directed in Wiseau's style, but the movie is reasonably entertaining as is.

At this point, I'd be happy to see any indication of a signature Franco style emerge from his films. He's tried a bunch of experimental poses in his Faulkner films, but "poseur" seems to be the only common denominator.


Fri Jun 08, 2018 7:52 am
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Ergill wrote:
I laughed at a handful of moments.

I don't think I've ever "laughed" during a Lanthimos film. Maybe a guffaw here or there, a gutteral mix of amusement and concern.

I have Alps ready for me on Prime, the last one of his not-impossible-to-find films I need to see.


Fri Jun 08, 2018 7:58 am
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Unsane D

This is the worst Steven Soderbergh film I've seen. If you want to see a studio experimental film shot on an iphone than that's probably the only reason to watch it. It cost $1,500,000 and worldwide turned a profit. This "thriller" set in a mental asylum should put most viewers to sleep pretty quickly after everything is set up. I stopped piling on the inaccuracies at least 15 minutes into the movie. The script is also riddled with terrible dialogue and dare I say it the movie has some pretty bad acting in huge chunks. I don't know how Soderbergh lured Claire Foy into this little circle of his. She seems to be one of the few actors here capable of getting something out of her poorly written character. Wow. This is disaster territory.


Fri Jun 08, 2018 8:46 am
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ThatDarnMKS wrote:
Same. I don't think Lanthimos' sense of humor is absent. As I mentioned in my write up, I find his direction of actors to get reminiscent to Wes Anderson. It seems to embrace artificiality and detachment. The humor is just pitch black.

Almost every interaction between the kid and others was laced with awkward humor and menace in equal parts.

He's like the fascist dystopia Wes Anderson. Unlike the fascist utopia Wes Anderson. Who ever that is.

Jinnistan wrote:
I don't think I've ever "laughed" during a Lanthimos film. Maybe a guffaw here or there, a gutteral mix of amusement and concern.

I feel like I laughed often during The Lobster. All awful laughs. Liking kicking kids in the shin. And super-slo-mo John-C-Reilly.


Fri Jun 08, 2018 11:29 am
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The Lobster is almost as funny as Force Majeur. That's no slight though. Both are terrifyingly funny, and for my sick money, two of the best 'comedies' in recent years.


Fri Jun 08, 2018 11:47 am
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crumbsroom wrote:
The Lobster is almost as funny as Force Majeur. That's no slight though. Both are terrifyingly funny, and for my sick money, two of the best 'comedies' in recent years.

Agreed. Both are peak painful funny.


Fri Jun 08, 2018 12:04 pm
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OK, I might have laughed a little at the pony-girl. Because of that hair.


Fri Jun 08, 2018 12:18 pm
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Rabid Dogs ( I only glanced at the Kidnapped cut) seems to be Bava dipping his toes into poliziotteschi, albeit of the minimal police presence variety, ala Young Violent and Dangerous. Not only it is stylistically far removed from his normal works and feels more akin to De Leo and Castellation, but it's also quite possibly his most nihilistic work. Given that he made Bay of Blood, it certainly had to work hard to leave that impression. It is not without giallo influence, in particular with the climax, which elevated the film a great deal for me.

It's not necessarily one of his best but I think it may be his best outside the horror genre that I've seen so far.


Fri Jun 08, 2018 1:00 pm
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Spent my Friday night crying like a little boy. Thanks, Fruitvale Station.

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Sun Jun 10, 2018 1:31 am
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Only the Brave - 6/10 - This doesn't do much to distinguish itself from a lot of other (and much more effective) "band of brothers" type of movies like 13 Hours or Lone Survivor. This would be closer to something like Deepwater Horizon or Everest or maybe even something as silly as Twister which expect the audience to invest wholly into a particular lifestyle or vocation. You're either going to buy into it (in which case this movie might work for you) or you won't because it's too perfunctory and predictable. A heavyweight cast featuring Jeff Bridges, Josh Brolin, Jennifer Connelly and Miles Teller doesn't help either.


Sun Jun 10, 2018 4:05 am
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ThatDarnMKS wrote:
Rabid Dogs ( I only glanced at the Kidnapped cut) seems to be Bava dipping his toes into poliziotteschi, albeit of the minimal police presence variety, ala Young Violent and Dangerous. Not only it is stylistically far removed from his normal works and feels more akin to De Leo and Castellation, but it's also quite possibly his most nihilistic work. Given that he made Bay of Blood, it certainly had to work hard to leave that impression. It is not without giallo influence, in particular with the climax, which elevated the film a great deal for me.

It's not necessarily one of his best but I think it may be his best outside the horror genre that I've seen so far.


I feel like the very beginning (with the
unexpected killing of the woman in the parking garage
)and the very end of the movie (with the reveal about
the nature of the child in the car
are A+, expectation-busting sequences. But the middle is just a slog of nastiness and "will they won't they" sexual assault tension and violence. I admired the first and last five minutes but the middle was uninteresting to me and I've never had a desire to rewatch it.

It certainly takes a far back seat to, for example, Erik the Conqueror.

Captain Terror wrote:
Spent my Friday night crying like a little boy. Thanks, Fruitvale Station.


Yeah, that's a rough one.


Sun Jun 10, 2018 9:33 am
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Ready Player One B-

Pretty fun fluff from Spielberg.


Sun Jun 10, 2018 10:20 am
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Charles wrote:
Prometheus, 2012 (C-)
, 2nd watch

Charles! Where the hell you been, bro??

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Sun Jun 10, 2018 2:22 pm
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