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The Sea Hawk is great, but nowadays all I can think of when I hear the title is that Brian Atene "Good Day Mr. Kubrick" audition video.

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Tue May 15, 2018 10:14 am
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DaMU wrote:
The Sea Hawk is great, but nowadays all I can think of when I hear the title is that Brian Atene "Good Day Mr. Kubrick" audition video.

Not even on coorruttcheesss!


Tue May 15, 2018 10:42 am
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The Devil's Trap

František Vláčil's second feature (after The White Dove) and the first part of his cycle of historic films (along with Markéta Lazarová and The Valley of the Bees). It's not as renowned as the other two, which is odd, because it's an excellent film. It's not as insane as Markéta, nor as stark as Valley, but the camerawork and the score have the same daring, experimental edge to them, and it features a few real knockout scenes.

The story is a simple parable about the struggle between science and the religious establishment, but it bears it out in interesting ways. The rational thinkers are a miller and his son, persecuted for their uncanny knowledge of the land. Because they can make water spring up during a drought and predict the appearance of a sinkhole, they are accused of being in league with the devil, but in actuality they just understand that they are living over a network of caves and subterranean streams. Religion is depicted as a pragmatic institution devoid of spiritual feeling, while science takes on an air of mysticism, the caverns a secret refuge filled with flickering candles and dusty old tomes full of knowledge passed through the generations.

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Tue May 15, 2018 11:57 am
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Anyone else seen the Stray Cat Rock series? I just finished them and they weren't anything like I expected. Zany, stylish, campy, musical and weird. Meiko Kaji grows in presence with each one and despite titles like "Sex Hunter" and "Delinquent Girl Boss," they're hardly exploitative at all.


Tue May 15, 2018 11:57 am
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Macrology wrote:
The Devil's Trap

František Vláčil's second feature (after The White Dove) and the first part of his cycle of historic films (along with Markéta Lazarová and The Valley of the Bees). It's not as renowned as the other two, which is odd, because it's an excellent film. It's not as insane as Markéta, nor as stark as Valley, but the camerawork and the score have the same daring, experimental edge to them, and it features a few real knockout scenes.

The story is a simple parable about the struggle between science and the religious establishment, but it bears it out in interesting ways. The rational thinkers are a miller and his son, persecuted for their uncanny knowledge of the land. Because they can make water spring up during a drought and predict the appearance of a sinkhole, they are accused of being in league with the devil, but in actuality they just understand that they are living over a network of caves and subterranean streams. Religion is depicted as a pragmatic institution devoid of spiritual feeling, while science takes on an air of mysticism, the caverns a secret refuge filled with flickering candles and dusty old tomes full of knowledge passed through the generations.


I'm not a big fan of Marketa but damn it has some of the best cinematography of any film I've ever seen. Overall I'm a big fan of Vlacil and it's nice to see him talked about.


Tue May 15, 2018 12:59 pm
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DaMU wrote:
The Sea Hawk is great, but nowadays all I can think of when I hear the title is that Brian Atene "Good Day Mr. Kubrick" audition video.

I actually don't know this. ???


Tue May 15, 2018 2:36 pm
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Also, I'm pretty high, and this really is pretty good weed, but I swear I think Thor: Ragnarok might actually be Marvel's best movie.
I saw this twice in the theater and I enjoyed the hell out of it both times, but I am catching so much more stuff and realizing how actually clever a lot of the stuff I had seen before is, I honestly wonder if they don't need to give Waititi a MAJOR role going forward with the MCU. I'd love to see him launch Nova, for example. I feel like he surpasses James Gunn and I would definitely say this film is better than BOTH Guardians movies (although it does have the benefit of not having to introduce its 3 main characters).
Anyway, what a fun-ass movie.


Tue May 15, 2018 2:40 pm
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ski petrol wrote:

I'm not a big fan of Marketa but damn it has some of the best cinematography of any film I've ever seen. Overall I'm a big fan of Vlacil and it's nice to see him talked about.


Markéta is sui generis and a wonder to behold, but it's way out there and a jarringly visceral experience. That doesn't leave you much to hold onto. A large part of its appeal is its sheer aesthetic lunacy (for those, like me, who find that kind of thing appealing), and it's some kind of a miracle that its style meshes as well as it does with its themes and its medieval setting.

But Vláčil's other films give you sturdier ground to stand on. They're not necessarily easy films, but they have a clarity of purpose, at least. With Markéta Lazarová, you can't do much but stand in awe of it. The rest of his work offers clearer waypoints and demonstrates some surprising versatility, from the poetic rhapsodies of Clouds of Glass and The White Dove to the moral austerity of The Valley of the Bees and Adelheid.

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Tue May 15, 2018 4:43 pm
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Post Inception (Nolan, '10)

Image

Your mind is the scene of the crime.

About every decade or so, a new, iconic sci-fi/actioner seems to be come out and completely capture the imaginations of both the critics and the general public alike, for better or worse; in the middle of the 80's, James Cameron's The Terminator shocked audiences everywhere with its dark, nightmarish visions of a post-apocalyptic future. At the end of 90's, the Wachowskis produced The Matrix, amping up the genre with a blend of unbelievable cyber-punk action and basic (but still intriguing) philosophical musings. And, at the turn of this decade, we saw the release of Christopher Nolan's Inception upon the world, a twisty, thrilling, visually sleek, mind-fucking puzzle box of a film, one that expertly utilizes exciting, visceral action scenes in order to get audiences to more easily swallow its crafty, mind-bending, soft sci-fi concepts, creating a great example of the disappointingly rare breed of original modern summer blockbusters (in more ways than one), and a fairly iconic entry in modern popular cinema to boot.

It concerns itself with the story of Cobb, an expert thief who specializes in corporate espionage, albeit, an extremely unusual form of it; you see, instead of physically breaking into the headquarters of rival corporations and, say, stealing prototypes of their latest inventions, Cobb specializes in breaking into people's minds, utilizing his crack team of "extractors" to craft and inhabit ridiculously elaborate dreamworlds (which often consist of dreams within other dreams) in order to decieve their targets and abduct the innermost secrets from their very subconscious. When Cobb finds the ultimate "job" after crossing paths with Saito, a Japanese businessman who hires him not to steal an idea, but to plant one in the subconsciousness of a corporate rival, a seemingly impossible task known as "inception", he must assemble an elite team of mindthieves to create the ultimate dreamworld, an impossibly convoluted, labyrinthian realm of dreams within dreams within dreams, with an equally complicated, intricate scheme to go with it, all while the memories of his (not so) dead wife constantly haunt him, threatening to ruin the entire plan, and make him become lost for forever in an endless mental abyss, one where reality and fantasy cease to be seperate.

Explaining the film's story any further than that would surely spoil it (at least, more than I usually care to in my reviews), and more importantly, be very, VERY hard to do, not only because the film's extensive cast of characters create a lot of moving parts in the plot, but also just because of the basic rules that govern the film's various dreamworlds, which are numerous, and become ever more complicated as they continue to be unwrapped bit by bit as the film goes on, and new wrinkles are are added on top of the old ones, as the characters go deeper and deeper into the mindmaze that is the overall dreamland, and the multiple layers and threads of the dream converge in spectacular fashion. It is honestly often kind of confusing, especially when Nolan unnecessarily rushes through explaining certain important details, but despite that, I still understood enough of the basic gist of what was happening to keep the momentary bits of confusion from ruining the film, and it's still fascinating material on the whole, as Nolan created a lovingly detailed, fully fleshed-out cinematic concept here, having a lot of fun with experimenting and playing around with the possibilities of the various guidelines he created for the dreamworld, which makes for some surreal imagery that's rather striking in its sheer impossiblity (the ways the various dream levels interact with each other makes for a particular tour-de-force fight sequence in a hallway), and you can easily see every moment of the 8 years of painstaking development he put into the central idea.

Besides that, despite other flaws such as the often thrilling, but sometimes needlessly overlong fight scenes against the anonymous, disposable mental "projections" of the film's main target, or occasionally turning its characters into nothing more than robotic, emotionless exposition machines (which is necessary to an extent given the dreams' inherently convoluted rules, but Nolan still goes overboard with the over-explaining at times here), Inception still excels by making us to care about the people within it, and getting us to be as lost within the dreamworlds, as unable to tell fantasy from reality, as they are (which isn't surprising, seeing as over half the film takes place within one dream or another, which makes us forget what's real). During its most memorable moments, there's a raw, sincere undercurrent of emotion flowing through the film, as we witness the most secret, innermost pains and regrets of not just Cobb, but the other characters within it as well, and when they recieve their ultimate moments of emotional catharis or acceptance onscreen, we in the audience feel it just as much as they do.

Of course, most of the events that happen in Inception don't actually, er, happen, but that's part of the point; oftentime, our perceptions of reality matters just as much as reality itself, sometimes even more so, and it doesn't matter if something is "real" in the film or not if it it feels real. Of course, you can say that about any movie out there that's not a documentary, but Inception really makes a point of exploring that point at length, creating an unabashedly original blockbuster, not just in the sense that it isn't based on any existing property, or that it contains a fairly novel, refreshing core concept to hang a work of popular entertainment on, but also in the way that isn't afraid to challenge your basic perceptions of what reality really is, and make you, well, think while you're being entertained. When it comes to Inception, just forget what you know is real, and get ready to go deeper, into one of the better films of this decade.
Favorite Moment: The converging final kicks
Final Score: 8.5

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Wed May 16, 2018 6:49 am
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I didn't mind Beyond Skyline. While lacking in the spectacle a bigger budget could provide, it's fairly economic in its storytelling, keeping the exposition to a minimum and maintaining a brisk pace. It's also smart enough to keep its characters tolerable and relatively resourceful. If you liked Frank Grillo in The Purge: Anarchy, he's similarly effective here, presenting a kind of low key toughness and sense of authority while grounding his character in something more, so that he feels like an actual person and not a stock meathead action hero. Also, letting the guys from The Raid do martial arts never hurts. (Except for their opponents, har har.)

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Wed May 16, 2018 12:00 pm
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It happens some times. People just explode. Natural causes.


Wed May 16, 2018 1:16 pm
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Wooley wrote:
It happens some times. People just explode. Natural causes.


"Authorities thought, y'know, best leave it unsolved."

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Wed May 16, 2018 10:42 pm
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Rock wrote:
I didn't mind Beyond Skyline. While lacking in the spectacle a bigger budget could provide, it's fairly economic in its storytelling, keeping the exposition to a minimum and maintaining a brisk pace. It's also smart enough to keep its characters tolerable and relatively resourceful. If you liked Frank Grillo in The Purge: Anarchy, he's similarly effective here, presenting a kind of low key toughness and sense of authority while grounding his character in something more, so that he feels like an actual person and not a stock meathead action hero. Also, letting the guys from The Raid do martial arts never hurts. (Except for their opponents, har har.)

Same. It's what SyFy movies should be. Not Asylum junk.


Wed May 16, 2018 10:57 pm
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You mustn't be afraid to dream a little bigger, darling.

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Thu May 17, 2018 1:04 am
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DaMU wrote:

"Authorities thought, y'know, best leave it unsolved."

Not the one I was quoting, but also a great movie.


Thu May 17, 2018 1:14 am
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I don't want no Commies in my car. No Christians either.


Thu May 17, 2018 1:17 am
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Wooley wrote:
I don't want no Commies in my car. No Christians either.



Plate. Or shrimp. Or plate of shrimp.

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Thu May 17, 2018 1:25 am
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Death Proof wrote:


Plate. Or shrimp. Or plate of shrimp.

John Wayne was a fag.


Thu May 17, 2018 1:26 am
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Wooley wrote:
John Wayne was a fag.



I blame... society.

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Thu May 17, 2018 1:28 am
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Death Proof wrote:


Plate. Or shrimp. Or plate of shrimp.
You eat a lot of acid, Miller? Back in the hippie days?

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Thu May 17, 2018 1:29 am
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Death Proof wrote:


I blame... society.

Bullshit, you're a white suburban punk, just like me.


Thu May 17, 2018 1:32 am
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Death Proof wrote:
You mustn't be afraid to dream a little bigger, darling.
What is the most resilient parasite? Bacteria? A virus? An intestinal worm? An idea. Resilient... highly contagious. Once an idea has taken hold of the brain it's almost impossible to eradicate. An idea that is fully formed - fully understood - that sticks; right in there somewhere.

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Thu May 17, 2018 1:57 am
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Otto parts?


Thu May 17, 2018 2:12 am
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Wooley wrote:
Bullshit, you're a white suburban punk, just like me.

But it still hurts!

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Thu May 17, 2018 6:54 am
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I loved Hard Times and think it may be Walter Hill's best film next to the Driver. The stripped down style, period setting and dedication to only having diegetic music really gave it a feeling of authenticity. The Hustler with bareknuckle boxing instead of pool. Bronson and Coburn do their thing and they do it well.

Genre filmmaking at it's best.


Thu May 17, 2018 11:35 am
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Hey, I'm gonna cross-post this from Horrorcram in the interest of time:

Well, I find myself high again, this has not been my way for a while, but lately I've been feelin' comfortable with my life so here I am.
And I want a movie to watch that will fit the bill.
The last two nights I watched Thor: Ragnarok and Repo Man and both were just beautiful.
And I need one tonight.
If anyone's alive out there, and I know it's late, but if you are, let's here 'em.


Thu May 17, 2018 12:16 pm
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Hard Times is great, although as far as films about backroom sporting set in New Orleans go, The Cincinnati Kid is way more similar to The Hustler. Though Hard Times is the better of the two. I covered both in my Louisiana thread.

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Thu May 17, 2018 12:22 pm
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Holy shit, Pleasantville is TWENTY YEARS OLD.


Thu May 17, 2018 12:41 pm
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Game Night - 8/10 - This had just enough touches like the tilt shift establishing shots and the closing credits to make it stand out. Plus of course it didn't hurt to have a really clever, well written script and an exemplary cast. Jason Bateman, Rachel McAdams and Jesse Plemons really shine. Genuinely funny.


Thu May 17, 2018 12:51 pm
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Oh, I forgot:

Repo Man - 10/10

I haven't watched this movie in about 30 years, I think, and man, what a winner. So much better than I remembered, and I remembered it being good enough that I didn't wanna watch it again in case it wasn't. But it was. Friend of mine said, "I actually like it better now than when I was young."
Honestly, I have no complaints against the movie. I thought every character added something and was handled well (maybe less-so Archie, but, hey...), and I really enjoyed the weirder moments of the movie (like licking the metal hand), and then I just really liked the tone and feel and the bizarre basic story.
Just don't get movies like this anymore, I don't think.


Fri May 18, 2018 9:30 am
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Macrology wrote:

Markéta is sui generis and a wonder to behold, but it's way out there and a jarringly visceral experience. That doesn't leave you much to hold onto. A large part of its appeal is its sheer aesthetic lunacy (for those, like me, who find that kind of thing appealing), and it's some kind of a miracle that its style meshes as well as it does with its themes and its medieval setting.

But Vláčil's other films give you sturdier ground to stand on. They're not necessarily easy films, but they have a clarity of purpose, at least. With Markéta Lazarová, you can't do much but stand in awe of it. The rest of his work offers clearer waypoints and demonstrates some surprising versatility, from the poetic rhapsodies of Clouds of Glass and The White Dove to the moral austerity of The Valley of the Bees and Adelheid.


Adelheid is my favorite of the ones I've seen.


Fri May 18, 2018 9:41 am
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Adelheid has a helluva'n ending.

Also, my roommate persuaded me to go see Game Night and it was way more fun than I expected it to be.

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Fri May 18, 2018 12:58 pm
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Relentless was a solid Manhunter rip off. Sadly, it was less stylish than Lustig's other works but he still has a deft hand at the meat and potatoes of filmmaking and made the most of the film's premise and it was interesting seeing how it chose elements of the Red Dragon novel that Mann's adaptation left out to steal.

The real stand out is Judd Nelson, playing a soft spoken, creepy serial killer that is a far cry from his usual roles. In fact, I enjoyed virtually everything about the construction of the killer from the performance to the modus operandi: picking people from a phone book and killing them in a way that forced them to aid in their own deaths. It's wholly unrealistic but scratches that pulpy macabre itch.

It won't make anyone forget Manhunter, Seven or Silence of the Lambs, but it's a nice distraction when you've seen all the heavy hitters.


Fri May 18, 2018 1:15 pm
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Ah yes. I've seen Relentless a few times and it was always Judd Nelson's performance that drew me back. Good stuff. Never knew Lustig directed it.


Fri May 18, 2018 1:56 pm
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ski petrol wrote:
Ah yes. I've seen Relentless a few times and it was always Judd Nelson's performance that drew me back. Good stuff. Never knew Lustig directed it.

His camera movement and Friedkin homages are the only tells. The violence is more restrained and his garish colors are stripped away but it almost feels like an intentional choice to differentiate New York and LA.

I was curious about the sequels as I quite enjoyed Leo Rossi as the detective (he was also great in Maniac Cop 2), but it appears those are very out of print.


Sat May 19, 2018 2:24 am
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ski petrol wrote:
That's one I also need to see. Fitzcarraldo. Also Cobra Verde which I have.
ThatDarnMKS wrote:
Yes. Quite a fan of it. It's certainly one of his most dream like. I'm not sure I quite believe in hypnotism beyond the placebo effect but his hypnotizing of actors certainly created some very peculiar and unique performances. Have you seen Kasper Hauser, Stroszek and Woyzeck? He's got a handful of contenders and that's not even counting his docs. Herzog is just a dude that cherns out flicks that stick in my head.
Never saw Heart Of Glass, but I was never really a fan of Fitzcarraldo, and, while it's been too long since I've seen it (a full decade, in fact) for me to be able to go into much detail about it, and I've never hated it or anything, I still remember that, besides a few memorable visuals, it never particularly engaged me or left much of an impression overall. Same goes for Woyzeck, from what I remember. However, Kasper Hauser, Stroszek, & Cobra Verde are all good (and I've always felt Cobra in particular is pretty underrated), and documentary-wise, I'm also a fan of Grizzly Man, Lessons Of Darkness, My Best Fiend, & Little Dieter Needs To Fly, so I'm certainly a fan of him in general, even if nothing else I've seen from him it quite on the same level of Aguirre (but then again, few films in general are).

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Sat May 19, 2018 1:03 pm
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Wooley wrote:
Oh, I forgot:

Repo Man - 10/10

I haven't watched this movie in about 30 years, I think, and man, what a winner. So much better than I remembered, and I remembered it being good enough that I didn't wanna watch it again in case it wasn't. But it was. Friend of mine said, "I actually like it better now than when I was young."
Honestly, I have no complaints against the movie. I thought every character added something and was handled well (maybe less-so Archie, but, hey...), and I really enjoyed the weirder moments of the movie (like licking the metal hand), and then I just really liked the tone and feel and the bizarre basic story.
Just don't get movies like this anymore, I don't think.

It really is great, and what struck me on my first viewing a few years ago (and still rings true after the rewatch I did just now) is how well all the different elements cohere into a distinct, exact tone. For a movie known for its scrappy punk sensibility, it's deceptively well put together.

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Sat May 19, 2018 1:08 pm
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Rock wrote:
It really is great, and what struck me on my first viewing a few years ago (and still rings true after the rewatch I did just now) is how well all the different elements cohere into a distinct, exact tone. For a movie known for its scrappy punk sensibility, it's deceptively well put together.

Yes! Agreed! Exactly! The whole thing just comes together, feels put together, even though its inherent strangeness would almost make it feel otherwise as you're watching it.


Sun May 20, 2018 1:38 am
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I've been feeling under the weather so it's been movie binge time:

The Stone Killer- An earlier Dirty Harry rip off from the Winner/Bronson team that brought the most morally bankrupt American action franchise of all time: Death Wish. This one is similarly fascist and makes DH seem quaint but it's got style, solid car chases, very bloody action and that bizarre clash of cultures quality that DH and Coogan's Bluff revelled in. I was medicated watching it and may have fallen asleep for a moment but the plot was so perfunctory, I never felt lost. Enjoyable action schlock that is probably better than the Death Wish films in terms of craft.

Confession of Murder- from the director of Villainess came an equally muddled and confused first film, albeit more coherent in plot. However, aside from a brilliant opening chase sequence, the film devolves into what feels totally like a Death Note anime style cat and mouse via media that never matches the weight and tone of the wonderful opening. The film as a whole is fine and has some fun twists and turns but it never seems to deserve being taken seriously after the opening. If you can't tell, I loved the opening and never really forgave the film for not measuring up. It's silly, melodramatic and at times feels more like modern Hong Kong cinema than South Korea.

Bedevilled- unique among revenge films because of the perspective it is told from (a relative bystander), which allows it to keep from being derivative in the South Korean market or the wronged woman gets revenge market, which is laudable. It's well made, unpleasant and very bleak but it seems to combine things like I Spit on Your Grave, Dogville, Oldboy and the general slasher formula into something that stands on its own. If you're a fan of dark revenge films, it's very easy to do worse (Confession of Murder, for instance).

Puppet Master- sack of shit.

Young, Violent and Dangerius- I'll need to rewatch this one. It's part poliziotteschi and part murderous road trip. It plays more like the first act of Clockwork Orange than a Dirty Harry style flick so it stands out but I was too tired to be truly engaged by it. The raro dvd transfer left quite a bit to be desired so maybe a cheap Blu will drop as their Blu Ray output seems to be much higher quality


Sun May 20, 2018 3:15 am
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ThatDarnMKS wrote:

Puppet Master- sack of shit.


My experience has led me to suggest you should completely avoid anything released by Full Moon Features. If there is an exception to this rule, I can't think of it.


Sun May 20, 2018 4:30 am
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crumbsroom wrote:

My experience has led me to suggest you should completely avoid anything released by Full Moon Features. If there is an exception to this rule, I can't think of it.

Isn't Stuart Gordon's Dolls and Castle Freak from them?

I also have a soft spot for Dollman Vs. Demonic Toys but not enough to recommend it.


Sun May 20, 2018 5:54 am
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Oh wait, what the fuck?

Shrunken Heads, man. I'm all in on that shit.


Sun May 20, 2018 5:58 am
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Jinnistan wrote:
Isn't Stuart Gordon's Dolls and Castle Freak from them?


You might be right. I'm not sure if Dolls is really all that great, but it is okay, I guess. Castle Freak though, if a Full Moon production, would definitely qualify as being worth a watch.


Sun May 20, 2018 6:00 am
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crumbsroom wrote:

You might be right. I'm not sure if Dolls is really all that great, but it is okay, I guess. Castle Freak though, if a Full Moon production, would definitely qualify as being worth a watch.

I think we're still safely within the 99% of Full Moon releases being shit though.


Sun May 20, 2018 6:03 am
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crumbsroom wrote:

You might be right. I'm not sure if Dolls is really all that great, but it is okay, I guess.


You take that back! Dolls is its own brand of awesome.

The Florida Project was really good. I'm still mulling it (and particularly its last 5 minutes) over in my head, but generally speaking I thought it was really captivating.


Sun May 20, 2018 6:12 am
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Takoma1 wrote:

You take that back! Dolls is its own brand of awesome.


There is a charm to the limited budget stop motion animation, but everything surrounding it is modestly interesting at best. I thought I was being nice when I called it okay (but, in fairness, I imagine the company 'okay' keeps in my critical evaluations may hardly makes it seem like much of a compliment)


Sun May 20, 2018 6:29 am
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Post Re: Recently Seen

crumbsroom wrote:

My experience has led me to suggest you should completely avoid anything released by Full Moon Features. If there is an exception to this rule, I can't think of it.

I bought the Puppet Master collection packaged with the Killjoy collection for $2. The main appeal was Retro Puppet Master for Greg Sestero. My buddy I watch trash with decided we should watch it in chronological order. We expected this would add hilarious quality ebs and flows to the procession as we discovered the timeline is all over the place.

No. They're all garbage and the original may have been the most boring.


Sun May 20, 2018 9:18 am
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Post Re: Recently Seen

crumbsroom wrote:

There is a charm to the limited budget stop motion animation, but everything surrounding it is modestly interesting at best. I thought I was being nice when I called it okay (but, in fairness, I imagine the company 'okay' keeps in my critical evaluations may hardly makes it seem like much of a compliment)


To me it has enough weirdness (the giant killer teddy bear sequence) and bizarro sincerity (the friendship between the little girl and the child-like grown man) that I find it very enjoyable.

Also, the idea of
shrunken people inside of dolls
kind of freaks me out.


Sun May 20, 2018 9:54 am
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Post Re: Recently Seen

crumbsroom wrote:

My experience has led me to suggest you should completely avoid anything released by Full Moon Features. If there is an exception to this rule, I can't think of it.

Castle Freak. Only one I could find, I went through their entire filmography.


Sun May 20, 2018 12:42 pm
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Post Re: Recently Seen

Cop is probably a so-so movie, but James Woods' mixture of nastiness and hustle (nastle?) takes it up a few notches. Someone like William Friedkin, with his corrosive style, could have made a great movie with this character.

I really liked the climax of Extreme Prejudice, which feels like a modern riff on the climax of The Wild Bunch. Walter Hill pulled from that movie before in The Long Riders, but the specific character dynamics here make this one niftier. The rest of the movie is pretty good too, thanks to Hill's hard boiled style and the impressive roster of character actors in the cast (Nick Nolte, Powers Boothe, Rip Torn, Clancy Brown, William Forsythe).

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Sun May 20, 2018 3:09 pm
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