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Izzy Black wrote:
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That, too!

I miss you, Izzy. :heart:

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Fri Jun 23, 2017 7:02 am
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Popcorn Reviews wrote:
I don't think that Tarkovsky films are heavily based around humanity and life though (or at least, the films I've seen from him). This movie is heavily based on dehumanization. "Stalker" is heavily based on the consequences of desire. "The Mirror" is heavily based on the concept of death as we appear to see instances of a man's life while he's on his deathbed. "Solaris" is about the impact space exploration has on the human condition. If I watch some of his other movies, I might change my opinion. However, based on what I've seen from him so far, I wouldn't say that humanity and life are major themes of his movies.

Is it too much of a stretch to say that a theme of dehumanization would need to begin with the fact that it is humanity that is lost? And don't you need to show the humanity in order to show that it is gone or reduced? I think you'd at least need to begin with the assumption that there is such a thing as humanity. And, if so, does that mean that both humanity and the loss of humanity would be the theme(s) Tarkovsky examines? :)

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Fri Jun 23, 2017 9:46 am
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Gort wrote:
Is it too much of a stretch to say that a theme of dehumanization would need to begin with the fact that it is humanity that is lost? And don't you need to show the humanity in order to show that it is gone or reduced? I think you'd at least need to begin with the assumption that there is such a thing as humanity. And, if so, does that mean that both humanity and the loss of humanity would be the theme(s) Tarkovsky examines? :)

I see what you're saying. If you're going to show a character losing humanity in a film, you initially need to show that character having humanity before it's lost. However, I wouldn't say that simply having humanity is a significant portion to the movie's themes. When you consider how much time is devoted to Andrei losing humanity and becoming dehumanized, having humanity doesn't seem important to the film's themes at all. I wouldn't say that one of Tarkovsky's intentions was to examine someone having humanity. The main focus of the film in terms of its thematic brilliance is to examine someone losing humanity. And, like I said, I feel both filmmakers make simple, yet grand stories (this is the main reason why I hold this viewpoint).

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Fri Jun 23, 2017 12:39 pm
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See if you can get a copy of Ivan's Childhood to watch. That is, if you haven't already seen it. This is Tarkovsky's first feature, and it's one that he took over when it was in progress. I've never read anything that tells me how far along the film was when he took it over as a directorial project, not even the Criterion Collection DVD or Bluray packages. It's interesting because it's different, but very much like all Tarkovsky's other films (I've seen all but one of those he is credited with between 1956 and 1979).

I also noticed a couple of additions to the IMDb filmography since I last checked the list several years ago. I suppose there is research into just what this man did behind the veil that the West saw around the Soviet Union. It amazes me that someone "behind the Iron Curtain" was able to make the kinds of films that he did.

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in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
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DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Ed Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Sat Jun 24, 2017 7:17 pm
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Gort wrote:
See if you can get a copy of Ivan's Childhood to watch. That is, if you haven't already seen it. This is Tarkovsky's first feature, and it's one that he took over when it was in progress. I've never read anything that tells me how far along the film was when he took it over as a directorial project, not even the Criterion Collection DVD or Bluray packages. It's interesting because it's different, but very much like all Tarkovsky's other films (I've seen all but one of those he is credited with between 1956 and 1979).

I also noticed a couple of additions to the IMDb filmography since I last checked the list several years ago. I suppose there is research into just what this man did behind the veil that the West saw around the Soviet Union. It amazes me that someone "behind the Iron Curtain" was able to make the kinds of films that he did.

I'll consider watching it.

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Sat Jun 24, 2017 11:42 pm
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Fist Fight is dumb but fun. Spy is clever and really funny.

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Sun Jun 25, 2017 3:00 am
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M (1931) - 9/10

Oddly enough, the only reason I watched this movie as fast as I did was because I found its short title to be eye catching while looking for different films to watch. I also like crime dramas, so I decided to watch this movie as I was expecting something Hitchcock-esque. However, I liked it all of Hitchcock's films that I've seen as it's not just a well-made crime drama, but a smart one.

A child murderer named Hans Beckert has just killed his third victim, Elsie Beckmann. With little evidence, the police decide to raid and question psychiatric patients with a history of violence towards children. In fear of the police ruining business, an underground boss named Schranker decided to assemble a group of crime lords to start their own manhunt.

On the surface, this movie seems like a simple, well-made crime drama. However, the movie has a deeper meaning concerning people fighting against a corrupt environment. The police force in the film were flawed as they staged raids with little to no evidence. They were the reason why the gang lords organized their own manhunt. That manhunt came with its own law force. However, that's not to say that what they did was moral, because they also created an unfair kangaroo court to try Hans Beckert. They were more concerned with killing him themselves rather than turning him over to the police. Despite this, however, the fact that the citizens were more successful than the police in catching the child murderer shows how faulty the actual police force was. Essentially, this film is about a corrupt "law force" forming in the midst of another one.

As many other critics have pointed out, Peter Lorre gave a magnificent performance. The reason his performance was so unsettling was how his character turned from a heartless killer to someone terrified by the thought of being killed. The final act where he begged for his life was chilling as we got to see another side of Beckert that we hadn't witnessed before. I don't believe that many other actors would've been able to make that scene work as well as he did. Even though Lorre didn't become truly spectacular until the 2nd half, I wouldn't describe his performance as bland, because he still sent chills down my spine when he would talk to the kids he planned on killing. Also, even his whistling was slightly unsettling. On top of Lorre's great performance, the final act was also powerful as Beckert's monologue for why he kills people is both haunting and thought provoking. The scene also shows the flaws with the court system the criminals established, showing that they aren't any better than the police force in the film.

This movie has one of the best openings I've ever seen in recent years. It does a great job putting us right in the middle of the action. It starts off with several kids chanting about a murderer in a courtyard, a scene which shows us how many of the children are oblivious to how dangerous the killer really is. The scene then shows one of the girls coming home when she comes across a wanted poster for the murderer. Suddenly, we witness one of the most unsettling and remarkable character introductions of all time as Beckert's shadow moves in front of the poster. It's a clever way of introducing us to the killer not just because of its creativity, but also because the film doesn't show Beckert's face right away. There are also a couple unsettling shots in the opening that work due to their subtlety such as Elsie's ball rolling out of the bushes and her balloon getting lost in a set of telephone wires.

The sound in this film was both impressive and revolutionary. Quite a few scenes stuck out due to their use of sound. An example can be found in the opening shot as we heard a girl talking before the film revealed its first shot. The technique of showing dialogue or sound before a film starts off is still used in movies today such as "Hunger", "The Tree of Life", and "Whiplash". However, a truly suspenseful moment was when Beckert pursued a young girl in the streets. The camera was only focused on her, but we heard Beckert's whistling in the background getting louder and louder. There were other instances in the film which made the camera feel alive. An example of this was how we heard the sounds of different objects before they would come into view. This can be seen in the car horns as we heard them before they entered the shot. It felt like the movie was actually taking place in real time. While this may seem like nothing today, it was really innovative back then. The sound design in the film was way ahead of its time.

In conclusion, this movie was a remarkable film. It's both a deep and well-made crime drama which impressed me for a number of reasons. It has a deeper meaning, great acting, a haunting 2nd half, and innovative sound design. A few people criticized the movie for trying to get you to sympathize with a child murderer. However, I don't think the movie is asking for sympathy as much as it is asking for understanding. Regardless, it's one of the best crime films I've ever seen.

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Wed Jun 28, 2017 12:04 pm
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Post It Comes At Night (Shults, '17)

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The most important thing, we never go out at night.

A sick, elderly man, his body covered with bloody sores, his chest wheezing with a painful reluctance, sits hunched over on a bed inside a dim, depressing cabin, as indistinct figures wearing gloves, their faces and voices almost completely obscured by gasmasks, the sound of their filtered breathing seeming almost like a sick, twisted parody of the man's, load him onto a wheelbarrow as if he were a pile of rotten mulch, wheel him out to a shallow grave in the surrounding woods, place a pillow over the man's face, press a pistol against that, pull the trigger, and immediately pour gasoline over the fresh corpse, quickly immolating it. Who was the man in question you may ask? The family's grandfather.

This is the world of Trey Edward Shults' It Comes At Night, a small, hopeless world of fear, paranoia, and terrifying sicknesses, both physical and psychological. It takes place shortly after a new, unnamed plague has apparently wiped out civilization as we know it, as a family of (formerly) four takes refuge inside the aforementioned boarded-up cabin, hoping to eke out some sort of meager, tenuous continued existence in the woods, and desperately praying that the same hideous disease that destroyed the rest of humanity doesn't find its way into their bleak little corner of the world. All of that changes, however, when the family unexpectedly stumbles upon another family of survivors, whom they decide to let live with them in exchange for helping to maintain and protect their decrepit domicile, and... that's basically it as far as most of the major plot details go.

So yeah, not a particularly complicated film story-wise, but then again, It Comes At Night doesn't have to be; rather, it works well as an intensely atmospheric mood piece, getting us deep inside the mindset of people living out what they almost surely know are their last days in a middle of nowhere "refuge", with nothing but tiny electric lanterns providing a meager, hushed light at night, and even the days aren't very bright inside, with the boards covering most of the windows in the hope of blocking out the outside world.

It's a world that might as well have blinked right out of existence as far as we know, since, besides one quick excursion away from the cabin, we never see any real signs of a devastated humanity, just the dismal interiors of the cabin and the surrounding woods, but then again, we don't need to see anything more; like I said before, It Comes At Night is a movie that thrives on an intimately intense atmosphere. It's a film that slowly gets under your skin with its elegant, subtly creeping cinematography, unnerving, continually pounding ambient soundtrack, and its aura of a dark, twisted fear that ultimately consumes every single one of its characters. You can criticize it for being too simple or ambiguous, or say that most of its nightmare sequences are needless and shoehorned in to force the film into seeming more horrific (which is a fair point), but for an hour-and-a-half, I was deep inside of its dark, hopeless world, and all that's enough as far as I'm concerned.
Favorite Aspect: the atmosphere
Final Score: 8

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Sat Jul 01, 2017 4:59 am
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I want to see It Comes at Night so badly. I feel like it has a lot of potential to be one of the best horror films of the 2000's and the 2010's. Unfortunately, I can't see it in any of the theaters where I live as I don't turn 18 till August 23rd.

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Sat Jul 01, 2017 6:06 am
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You can go see it if an adult takes you, can't you? "Unless accompanied by an adult" used to be on the R-rated tag.

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Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Ed Mu Rv1 2 3 Es1 2 3 4 5 7

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Sat Jul 01, 2017 6:19 am
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My sister tried going to the theaters before with my mom, but she wasn't allowed to enter. The theaters around my house have gotten stricter over the years.

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Sat Jul 01, 2017 6:39 am
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How did you get here, Popcorn, most people are way past the age of 18

you could always buy the ticket for the G movie and walk into the R one


Sat Jul 01, 2017 6:44 am
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sry pops

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Sat Jul 01, 2017 7:01 am
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Joss Whedon wrote:
How did you get here, Popcorn, most people are way past the age of 18

you could always buy the ticket for the G movie and walk into the R one

I originally created a RT account a few years ago to review Danny Boyle's Sunshine. Over the years, I got more interested in movies as I slowly got into classic/foreign films. I eventually discovered the forum on Rotten Tomatoes. Eventually, Stu showed me this place.

I could always buy a ticket for a different movie only to walk into this one. However, it's not like there's a rush to see this movie. I might just wait for it to be released on DVD.

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Sat Jul 01, 2017 11:30 am
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Popcorn Reviews wrote:
I originally created a RT account a few years ago to review Danny Boyle's Sunshine. Over the years, I got more interested in movies as I slowly got into classic/foreign films. I eventually discovered the forum on Rotten Tomatoes. Eventually, Stu showed me this place.

I could always buy a ticket for a different movie only to walk into this one. However, it's not like there's a rush to see this movie. I might just wait for it to be released on DVD.

Stu's a pretty good person from my experience. It's great to have you here


Sat Jul 01, 2017 2:02 pm
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Joss Whedon wrote:
Stu's a pretty good person from my experience. It's great to have you here

Thanks.

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Sun Jul 02, 2017 1:10 am
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Joss Whedon wrote:
Stu's a pretty good person from my experience. It's great to have you here
Aw, thank you so much, Joss :heart: And I 2nd the notion that having PR here now is a good thing; welcome aboard, buddy!

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Mon Jul 03, 2017 8:59 am
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Days of Heaven (1978) - 9/10

I've always liked how Malick films have an otherworldly feeling to them. "The Tree of Life" is still my favorite Malick film, but this was still impressive. It had a unique and swiftly feeling to it which had a great impact on me. Since I was impressed by it, I'm going to probably check out "Badlands" as well since it also looks interesting.

After a steelworker named Bill accidentally kills his boss in a fight, he, his wife, Abby, and his daughter, Linda flee to the Texas panhandle where they join a farm and pose as brother and sister to avoid gossip. However, after the farmer falls in love with Abby, that action begins to brew jealousy and trouble.

The editing had a lasting impact on me. Most of the scenes of dialogue are short as they only consist of a few lines between the characters before the movie changes to another scene. Those short scenes of dialogue make the movie feel like it's always in motion. It's a creative way of telling its story, because it commonly feels poetic. It appears to move from one scene to another in a swift fashion that I haven't seen done the same way before. This method of storytelling was not only unique, but it did a great job at engaging me. With that being said, the film is not easily absorbed in one viewing as it's easy to miss certain character motivations if you don't pay full attention to what goes on in the film. The editing in this movie reminded me of the discontinuity editing is Godard's "Breathless". Both films evoked similar feelings in terms of their editing.

All the Malick films I've seen have delivered on their cinematography. This film was no exception. The outdoor shots were breathtaking largely because most of the film was shot during golden hour (the period during sunrise and sunset). The slight redness of the skies not only made the film feel atmospheric, but it also immersed me into the backbreaking work which had to be done around the farm. Despite just looking nice, I also felt like the cinematography showed how insignificant the characters were. I first noticed this when the film would show several people working while the house would be far off in the distance. On top of those shots, there were also many shots of the horizon, wheat stems blowing in the breeze, and close-ups of different insects. I couldn't help, but think that the characters were parts of a larger whole. The contrast between the camera focusing on immense scenes of nature and mixing in character drama by showing short clips near the middle or ends of conversations showed that the protagonists were tiny specks in the vast agricultural setting the film took place in.

On top of that, there are also several great visual set pieces. The most famous of which is the locust swarm. Its arrival is menacing as first, we hear eerie sounds and music followed by a few locusts in a kitchen followed by thousands of locusts in the wheat fields. Like many other critics have pointed out in the past, this scene signals the beginning of the end. Another great scene which I don't feel is brought up enough is when Bill takes Abby out of the bedroom while she's sleeping with the farmer. This is a vital scene as it's the first to reveal Bill's hatred of the farmer's relationship with his wife. What I like about that scene is after the 2 leave, we see a shot of a gazebo the characters stayed in earlier. Only this time, however, the color pallet of that shot is dull and gray, almost like the movie is warning us that the film will only go downhill from there.

Some people complained that the story was too slight. However, I disagree. It may seem like a simple story on the surface. However, there are a few layers of subtlety to the film which make it stick out. I mainly liked the subtle delivery of the character motivations, because, in my opinion, that's the best way a film can utilize subtlety. An important scene in terms of the motivations is how Bill persuading Abby to marry the farmer is lightly touched on. It can be easy to miss the dialogue which reveals that if you're not paying full attention (I missed it on my first viewing). However, once you pick up on that scene, you start to notice several preceding subtle scenes which lead up to it. Once you pick up on that, it becomes impossible to look away from the film. Another subtle scene was how one of Linda's friends leaves the farm only to come back later in the film. Her reappearance is sudden, but necessary. Because of this, I'd say that the story aspect is also well-done. Anyways, what I have to say to the people who criticized the movie for this reason is to try watching it again with what I said in mind, because if you do, you may appreciate the movie more.

In conclusion, I thought this film was superb. On top of the great cinematography, visual set pieces, and subtlety, Malick's decision to make most of the scenes of dialogue short helped to make this film feel poetic and mysterious at times. The funny thing is that I was putting off seeing Malick's older work for quite some time. I honestly don't know why I waited so long. Maybe I didn't think he would top "The Tree of Life" or something. I don't know. However, I'm going to check out "Badlands" soon as this film blew me away.

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Fri Jul 07, 2017 1:00 am
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Post Baby Driver (Wright, '17)

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Wait- I gotta start the song over.

While Edgar Wright is one of the most stylistically distinctive directors working today, as of late, it feels like he's been stuck in a bit of a creative rut. Yes, I enjoyed every entry in the so-called "Cornetto Trilogy", but by the time 2013's The World's End rolled around, and we got yet another quirky relationship comedy wrapped inside of a loving genre parody, I was starting to get a bit fatigued with the whole deal. Fortunately, while I'm still disappointed that the suits at Marvel refused to let Wright inject his undeniable personality into the rather homogenous "MCU" with AntMan, Baby Driver is still a strong consolation for that cinematic loss, and a welcome shake-up to Wright's still-young career.

The basic plot of Baby Driver should be familiar to anyone who's ever seen any "One Last Job" films; a criminal who's The Best At What He Does (the titular "Baby Driver") plans to ride into the sunset with his Designated Love Interest (Lily James's innocent, naive Girl Next Door Deborah) after he pulls off his OLJ (the robbery of an armored truck) for his local criminal boss (Kevin Spacey's superior, perpetually in control Doc), a boss who's in the habit of making people Offers They Can't Refuse. Of course, just when Baby Thought He Was Out, They Pull Him Back In, he quickly gets In Over His Head and absolutely Nothing Goes According To Plan, and he has to go on the run from both the fuzz and his fellow thieves as he discovers that Getting In's A Lot Harder Than Getting In, and blahblahblah yaddayaddayadda seen it all before.

But Wright obviously knows we've seen all this before, and doesn't try to pretend otherwise (at one point, Baby literally even says his next heist will be his "one last job"). Instead, Baby Driver displays a refreshing sense of self-awareness about the familiarity of its cliches, while also refusing to coast on them, injecting some new life into the ever reliable Crime Thriller both through its unique, unusual protagonist, as well as through applying Edgar Wright's hyperactive, idiosyncratically one-of-a-kind style to the genre, all while Wright takes steps to avoid simply repeating what's worked for him before. Ansel Elgort of The Fault in Our Stars and the Divergent series takes a much-needed break from the Young Adult adaptations to portray Baby, the painfully young but supernaturally-gifted driver, who uses his various IPod mixes as both the soundtrack to the heists he facilitates, as well as an escape from them, attempting to avoid seeing or hearing any innocents being harmed by his "coworkers" by just dancing in his seat to the beats in the hopes of keeping his hands clean (a hope we all very well know will be dashed by the end of the film).

Baby's relationships with the other characters form the heart of the film, whether it be the way he takes care of his deaf foster father who is far too old to look after him anymore, his uneasy, Stockholm Syndrome dynamic with Doc, or his love story with Deborah, the waitress at a local diner. Rather than just being the obligatory Girl Of The Film, Wright takes the time to properly, genuinely develop their relationship, whether it be showing the two of them bonding over their mutual love of music and a desire to just hit the road and leave it all behind, or the true sympathy she shows when she learns that his mother died in a car crash when he was a child (while he was in the car, with a 1st-generation IPod that he now carries with him as a memento), or the way she loyally waits for him at the diner all night, after he promises (futilely) to make one final getaway with her.

All these small (but essential) details results in BD easily having the best character development a Wright film has had since Shaun Of The Dead, which, along with the surprisingly complex, detailed plot, and unexpectedly serious tone here, helps to create the freshest work from this director since, well, that acclaimed debut. Don't get me wrong, there are still some moments of levity and comic relief here, but for the most part, Baby Driver can hardly be called a parody of anything, as it plays its Crime Thriller tropes rather straight, and, unlike most of Wright's previous material, when the characters are supposedly in life-or-death situations here, they actually act as if they are, resulting in a Crime film as legitimately thrilling as anything Michael Mann ever put his name on.

Finally, I would be remiss if I didn't praise Wright for retaining his signature directorial style and taking it in a different, more action-oriented direction here. Of course, his in-your-face, hyperactive-but-focused style, with its energetic, constantly active editing, cinematography, and neat little visual gimmicks, and his always perfect, mood-setting song choices do a lot to spice up the calmer scenes, but it really shines during the action, as the dusty story beats are brushed off by the musical ones, and it becomes harder & harder to tell if the last beat came out of Baby's ever-present IPod, or from a nearby gunshot. This movie really does have some of the finest action scenes (with all-practical stunts!) since Fury Road, and Wright simultaneously livens up both this tired old genre, and his own personal style, with what is one of the best movies of the year so far. Don't let this Baby drive away from you.
Favorite aspect: the action
Final Score: 8

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Sat Jul 08, 2017 3:09 pm
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It's a terrific film, I think Wright doesn't get enough credit for his craft. The World's End was a great film, he manages to create a real character with addiction problems in Simon Pegg and pulls it off wonderfully. It may be one of the best films about addiction, it's not overly dramatic like Leaving Las Vegas or silly like Requiem for a Dream. Pegg is simply craving social contact, the alcohol is filling that gap that he has, the fear of being lonely, the fear of not knowing what is going to happen when you become sober, all ring true. The film is certainly his most mature work.


Sat Jul 08, 2017 3:26 pm
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Post Re: Recently Seen

Just saw Sofia Coppola's version of The Beguiled. It's not a bad film (it's surprisingly funny), but it's inferior to the 1971 Siegel/Eastwood version in just about every way.

I will say it's prettier than the original. . . but even that I mean as a criticism.

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n. 1. Long and tedious talk without much substance; superfluity of words.


Sat Jul 08, 2017 4:16 pm
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Post Spider-Man: Homecoming (Watts, '17)

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Can't you just be a friendly neighborhood Spider-Man?

I admit, I had almost negative interest in Spider-Man: Homecoming prior to it's release; I was never a big fan of the overly campy Sam Raimi trilogy (2 was the only one I really liked), I avoided the first Amazing Spiderman out of apathy for another origin story so soon, and everything I heard about Amazing 2 made me (and a lot of other people) stay far, far away. Fortunately, that film's failure had a silver lining, as it lead Sony to share the character's film rights back with Marvel in order to steer the franchise back on course, leading to the release of the Homecoming you see before you. Its title obviously refers to the fact that, despite playing a supporting role in 2016's strong Captain America: Civil War, this is the webbed one's very first solo film within the "Marvel Cinematic Universe", but, of course, despite the MCU never even coming close to releasing a bomb in 9 years and a whopping fifteen film's, that alone didn't guarantee the success of Homecoming, since I was never the biggest MCU fan (heck, I (I didn't even like the first Avengers). However, despite my inconsistent relationship with both the previous Spidermans and the Marvel films, and an overall fatigue with the superhero movies that have been dominating Hollywood in the decade & a half since the original film's release, director Jon Watts still managed to deliver a rather fresh and entertaining new start for your friendly neighbourhood Spiderman here, proving that you can teach an old spider new tricks... or something.

After a flashback to the backstory of the film's antagonist (Michael Keaton's The Vulture) and an amusing little recap of Spidey's involvement in the events of Civil War (done from the novel angle of Peter Parker filming Instagram-style selfie vids), the (Iron) man himself Tony Stark drops Peter back off in his home swinging grounds of Queens, with a shiny new suit, and an exhortation to just be a "friendly neighborhood Spiderman" for the time being, and not try to bite off more than he can chew. And refreshingly, both Peter and the film itself manages to do just that for the 1st half, "grounding" him in, well, his local neighborhood, showing Peter struggling to balance the duties of being just another high schooler who has to worry about studying, bullies, and how the girl of his dreams feels about him, alongside his "extracurricular activity" of being Spiderman after class, lifting up an entire row of lockers to access his stash of web fluid and webbing his backpacks up behind dumpsters (which still doesn't prevent them from getting stolen) as he apprehends petty bike thieves, use his plentiful downtime to send multiple, unresponded-to texts to Tony's assistant in the hope of being let inside the Avengers loop, and just generally try prove his worth as a hero to the (sometimes justifably) not-always appreciative locals.

And, instead of every action scenes here constantly taking place high up amongst the skyscrapers and cityscape that define Spiderman's hometown, Homecoming balances sort of the large-scale setpieces you've come to expect from Spiderman (such as him using his webs to steer a massive, crashing cargo plane, attempting to hold together the Staten Island Ferry as it splits in half, and a truly "spectacular" scene set all the while on top of a crumbling Washington Monument) alongside action beats set in far more domesticated, mundane locations, such as a robbery inside a small local ATM, a Ferris Buller-style chase in a sleepy residential neighborhood (a cinematic similarity the film itself acknowledges in an amusing little aside), and a fight that takes place on the bus parking lot of the local school while the film's titular 80's themed homecoming dance goes on inside, unaware of the chaos occuring outside.

It is this dichtomy, this contrast between Spiderman's larger, more typical superheroics and the unexpected, down-to-Earth relatablity of Peter's dilemmas, both in and out of the costume, that ultimately makes Homecoming successful, and a relative breath of fresh air in an overdone, incredibly overcrowded genre. Don't get me wrong, as this isn't a perfectly film or anything; at times, it overrelies on using its connections to the larger MCU as a story crutch, some of the characterizations were lacking (such as Peter's incredibly cliched, one-dimensional school bully, or Zendaya's annoyingly "ironic", pointlessly off-putting MJ), and the overall film can't help but help but have a general air of familiarity if you've seen any number of modern superhero movies, but despite all that, Spider-Man: Homecoming was still a fun, entertaining time at the local cinema, and one I wouldn't hesitate from recommending you swing on in to check out.

Best Moment: If I'm nothing without this suit, I don't deserve to have it.

Final Score: 8

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Sat Jul 22, 2017 2:26 pm
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Post Re: Recently Seen

Jon Watts. That's the director. Think you were thinking Marc Webb.


Sat Jul 22, 2017 6:13 pm
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Post Re: Recently Seen

Ace wrote:
Jon Watts. That's the director. Think you were thinking Marc Webb.
Sry, fixed :oops: Anyway Ace, did you like the movie?

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Sun Jul 23, 2017 12:47 am
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Post Re: Recently Seen

yes I did. A few moments that define Spider-Man in the movie made it for me. Mainly the ending.


Sun Jul 23, 2017 4:31 am
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Post Re: Recently Seen

Ace wrote:
yes I did. A few moments that define Spider-Man in the movie made it for me. Mainly the ending.
Plus...
...dat shot of Peter sharing his reflection in the puddle with his mask... *drool*

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Sun Jul 23, 2017 2:53 pm
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