It is currently Thu Jan 24, 2019 7:43 pm



Reply to topic  [ 565 posts ]  Go to page Previous  1 ... 8, 9, 10, 11, 12  Next
 Apex Predator's Film Thread Volume 2.0 
Author Message
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

I saw Diabolique fairly recently, but I thought it was really great. The reason this movie works so well is because it's slow and drawn out. It makes it feel like Christina is stuck in a never ending nightmare. I felt her distress throughout the picture, and this constant slow-burning tension is part of what makes the climax so terrifying. I initially wasn't sure what to make of the ending, because I thought the film went a bit overboard, but considering that the film feels like a never ending nightmare, I'll say that the ending is more than fitting as it seems like a microcosm of what made the film preceding it so great. As for the Vertigo connection, I think this film is different in the way that it used its pacing to create tension. Although, I consider both to be great films.

_________________
Top 30 Favorite Films of All Time


Wed Oct 17, 2018 12:14 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

One of the things I loved about Les Diaboliques is how it juxtaposed the two characters of Christina and Nicole...

Two women in love with the same man, the first one as a woman who thinks she's smarter than what she is and ends up getting way over her head, and the second one who pretends to be less than what she is and ends up getting the upper hand, at least for a while.

_________________
--- UNDER CONSTRUCTION ---


Wed Oct 17, 2018 12:53 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Reviews of The Workshop, Derren Brown's Sacrifice, and Dark Money are forthcoming.

For November, I plan on tackling a few films starting with Oscar winner The Shape of Water. Also will take out stragglers Coraline and The Vault.

Thanks to Thief's November challenge, other titles will present itself.

Moonlight: Movie written by African American, No CGI/Special Effects
Chennai Express: Road Trip film, Bollywood film
Hector and the Search for Happiness: British film
I Love You (2016): Swedish film
Blue is the Warmest Color (2013): Palm D'or winner
Desierto (2015): Spanish Language Film
Ghostbusters (2016): Film with SNL alum, past or present
Monster Trucks (2016): Box office bomb
The Philadelphia Story (1940): Film that lost Best Picture in the 1940s
Barbecue (2017): Film about Food
Eight Men Out (1988): Period Drama
The Apology (2016): Film directed by woman
Black River (1957): Kobayashi Masaki film
An American in Paris (2018): Film based on play (it's based on the Broadway show)

No idea what I'll do for films/miniseries over 4 hours and/or 1950s Best Picture winner.

And also, if you have suggestions, feel free to chime in. Keep in mind that I have Netflix and Amazon Prime currently.


Fri Nov 02, 2018 11:35 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

The Workshop (2018):

Basically it's about this guy named Antoine (Matthieu Lucci) who joins several other diverse youths in this writing workshop run by thriller author Olivia (Marina Fois) where they attempt to collaborate on a thriller novel that may well get published. He may also be influenced by his cousin who is part of a right wing movement. Antoine's behavior intrigues Olivia who realizes that maybe her writing for teens could use some color, some life. But at the same time, she's also disturbed by his words, his language.

I was wrongly sold on this as being a thriller, which outside of one sequence towards the end, it's not. It's more of a character study as Antoine isn't really so far different from typical teens (he takes chances, he worries about his body, he sometimes acts out to provocate). It helps that both Lucci and Fois are both magnetic personalities that draw you into the film. And director Laurent Canet doesn't shy away from the hurt caused by his words (often aimed at several Muslim characters), nor does his forget to give depth to the other characters of the workshop.

But if anything, I think there was a bit of hand waving going on with Antoine as well. He never seems to fully suffer the consequences of his actions, particularly in that one sequence towards the end. The finale doesn't quite seem earned.

On the plus side, I think my 2018 films have a new current leader. But will it last?

Spoiler alert: No, it doesn't.

NEXT: Oh, look. It's that psychological magician that talks too much again!


Sat Nov 03, 2018 8:25 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Derren Brown: Sacrifice

Basically, British illusionist/mentalist decides to create a hero out of Phil, a Florida construction worker who believes immigrants are creating problems for our country. In other words, he's practically a Trump voter in the flesh right down to the tattoos.

But by making this a TV show about a medical experiment for British TV, Brown convinces Phil to implant him with a chip in the back of his neck and gives him an app with a distinctive sound. After a while passes, he decides to test Phil on various things. Ultimately, this thing is about taking a bullet for a Mexican immigrant who is part of a giant version of Joe Schmoe with Phil in the lead role.

With some others, I do question some of the ethics of this psychological experiment. It's not so much a horrible thing to affect change, but some of the methods he uses are questionable such as the whole thing with the biker bar. It does feel like he's more interested in taking charge than in having Phil improve.

But unlike The Devil and Father Amorth: There's Fakery Afoot!, he takes pains to reveal that everything is happening as it happened. A powerful moment comes when he finds out what his DNA consists of. And it's followed by another one where he sits face to face with someone he's admitted having problems with. The feeling he has comes across as genuine.

But how can we become immersed in Brown's scenario when he feels like he has to explain everything to death? It's a bit less problematic than his previous special The Push which played more like The Game which kept getting interrupted every few minutes by Brown who feels like explaining something else. Oh, and the final points he makes feel like he's lecturing us. I don't think you've earned that right, considering you're playing around with psychology enough to make Dr. Zimbardo nervous.

Passable fare, but could have been more.

NEXT: The truth about politics and money, revealed. Or why I should wish to live in Montana instead of Kentucky?


Mon Nov 05, 2018 10:26 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Dark Money:

One hundred years after the rural state of Montana dealt with corruption in their state, the threat of dark money from outside interests threaten to do that again. Even though their toughest in the nation against campaign funding corruption was sank alongside Citizens United, the citizens in this state refuse to give up. A reporter named John Adams starts investigating one of these groups known as the American Tradition Partnership which ultimately leads to him catching a politician who is willing to do and say what these special interests will tell him what to do. Meanwhile the newly elected Montana Attorney General wants to come up with a new law with teeth to shine a light on who's behind the dark money.

Fascinating tale of how politics have been corrupted by corporations and what it might take in order to stop this from happening. This documentary argues that it's going to have to be states that step up; one allegation made is that Congressmen are already under their control. One frightening thing is the frustration felt by a member of the Federal Election Commission as she sees the three Republicans form a voting bloc which keeps it from doing anything.

It also works as a case study of how far a reporter will go to get to the truth, even as it costs him. One scene towards the end has him in tears as he thanks other reporters for being there during a trial.

It may have left PBS's website, but see this film please whether it's Kanopy or other sources. It's clear, pulls no punches, and manages to be somewhat uplifting and somewhat depressing at the same time.

NEXT: A 1951 movie musical becomes a 2010s Broadway musical.


Sun Nov 11, 2018 11:08 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Coming up this week are reviews of:

An American in Paris: The Musical (2018)
The Shape of Water (2017)
Coraline (2009)
The Vault (2017)
Take Me to the River (2016)
Wildland (2018)


Tue Nov 13, 2018 5:33 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Apex Predator wrote:
Coming up this week are reviews of:

An American in Paris: The Musical (2018)
The Shape of Water (2017)
Coraline (2009)
The Vault (2017)
Take Me to the River (2016)
Wildland (2018)


Ooh, Coraline is a treat, not only visually, but story-wise.

_________________
--- UNDER CONSTRUCTION ---


Tue Nov 13, 2018 5:57 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Thief wrote:

Ooh, Coraline is a treat, not only visually, but story-wise.


Coraline and The Vault are both leftovers from last month that I started in October and didn't get finished until November.

Really wanted to see Take Me to the River before it expired and it appears that won't be the only Netflix film seen this month for that reason (Girlhood).

I got two films battling for the best of November and one that easily has the worst sewn up (if I don't get to a certain film by the end of the month).


Tue Nov 13, 2018 8:53 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

An American in Paris: The Musical (2018)

Basically, it's a story of an American soldier named Jerry who chooses to stay in France following the second World War. He befriends a young composer and fellow American expatriate named Adam while falling for a young ballerina dancer named Lise who is currently seeing a rich guy named Henri who is too shy to tell her how he feels...or his dreams of being a showman. Complications ensue when the soldier's artwork gathers the attention of a rich American heiress named Milo who becomes interested in more than his art.

The most impressive thing here is the set design. Amazed how they were able to move so quickly and how they're able to turn a cafe into a lake into a clothing store so fast. Dancing is fine, and yes, they do keep the George Gershwin score which is sung efficiently.

But even though they tried to avoid comparisons to the Gene Kelly/Leslie Caron 1951 film on which this is based, the stage performances doesn't always translate well to the small screen. The majority of funny lines falls a bit flat as does the composer's New Yawk accent. And I could have done without the dialogue implying the would-be showman was interested beyond the fairer sex. Oh, and the play just kind of ends less with a bow on top and more with a hmm, okay.

Overall, it's less S'Wonderful and more S'Decent.

NEXT: A best picture winner!


Tue Nov 20, 2018 10:16 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Halfway through the 8th film and I feel like I made a colossal mistake. Maybe the worst film I've seen in about a year and a half. So much to talk about once I get time to do it.


Wed Nov 21, 2018 2:31 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Apex Predator wrote:
Halfway through the 8th film and I feel like I made a colossal mistake. Maybe the worst film I've seen in about a year and a half. So much to talk about once I get time to do it.

Ooooh, good teaser.


Fri Nov 23, 2018 7:33 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Apex Predator wrote:
Halfway through the 8th film and I feel like I made a colossal mistake. Maybe the worst film I've seen in about a year and a half. So much to talk about once I get time to do it.


Curiosity is killing me!!

_________________
--- UNDER CONSTRUCTION ---


Fri Nov 23, 2018 7:51 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

If only the Netflix would cooperate, I'd love to tell you all about it.


Sat Nov 24, 2018 1:11 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

In the coming days, we'll get through the following titles:

The Shape of Water (2017)
Coraline (2009)
The Vault (2017)
Take Me to the River (2016)
Wildland (2018)
The Philadelphia Story (1940)
Baby Driver (2017)
Ghostbusters (2016)
Hector and the Search for Happiness (2014)
Loving Vincent (2017)

And here's a hint as to which title I was referring to:

Considering how similar her character was to that of Gone Girl, I spent time during the film theorizing that she ended up killing the lead character and moving in with NPH's character.


Tue Nov 27, 2018 10:02 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Wow, I've taken forever with this.

The Shape of Water (2017)

Last year's Oscar winner from director Guillermo Del Toro is essentially a remake of Creature from the Black Lagoon where a mute woman named Elisa (Sally Hawkins) teams up with her homosexual neighbor Giles (Richard Jenkins) to break out a creature (Doug Jones) from an aquarium which she cleans. This decision eventually involves her sympathetic co-worker Zelda (Octavia Spencer) and an elite government man with sinister designs for the creature (Michael Shannon).

There's a mix of love of old cinema (nifty sequence involving Elisa and Giles tap-dancing to an old musical) with modern craft (one sequence set in Elisa's bathroom involving copious amounts of running water). One also can appreciate the society outsiders trying to stick it to those favored by the federal government (such as his brand new car).

One sequence at a pie diner plays it a bit close on the nose and although I enjoyed Shannon's performance in general, I might could have done without some of his issues with his fingers. I get why some argue the romance itself is rushed, but I didn't find it so much that as more along the lines of two outsiders learning to appreciate and getting to know each other.

I give this a solid recommendation. As it turns out one of two picks of the month!

Next: Sullen pre-teen must decide between real life and fantasy.


Mon Dec 03, 2018 10:24 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

I liked The Shape of Water quite a bit, but it had a couple idiotic scenes. For instance, when she flooded the bathroom to have sex with the monster. My reaction was "Can you seriously not see any of the ways this can backfire?" Or, how she'd masturbate in the bathtub, causing her to show up late to work. However, I agree that The Shape of Water is really good, and although it wouldn't be my choice for Best Picture, I'm glad a science fiction film finally won.

_________________
Top 30 Favorite Films of All Time


Mon Dec 03, 2018 12:13 pm
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

I liked it, thought it was ok, but not much more. I also had issues with some scenes and decisions, and overall consider it somewhat forgettable.

_________________
--- UNDER CONSTRUCTION ---


Mon Dec 03, 2018 12:32 pm
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Apex Predator wrote:
Wow, I've taken forever with this.

The Shape of Water (2017)

Last year's Oscar winner from director Guillermo Del Toro is essentially a remake of Creature from the Black Lagoon where a mute woman named Elisa (Sally Hawkins) teams up with her homosexual neighbor Giles (Richard Jenkins) to break out a creature (Doug Jones) from an aquarium which she cleans. This decision eventually involves her sympathetic co-worker Zelda (Octavia Spencer) and an elite government man with sinister designs for the creature (Michael Shannon).

There's a mix of love of old cinema (nifty sequence involving Elisa and Giles tap-dancing to an old musical) with modern craft (one sequence set in Elisa's bathroom involving copious amounts of running water). One also can appreciate the society outsiders trying to stick it to those favored by the federal government (such as his brand new car).

One sequence at a pie diner plays it a bit close on the nose and although I enjoyed Shannon's performance in general, I might could have done without some of his issues with his fingers. I get why some argue the romance itself is rushed, but I didn't find it so much that as more along the lines of two outsiders learning to appreciate and getting to know each other.

I give this a solid recommendation. As it turns out one of two picks of the month!

Next: Sullen pre-teen must decide between real life and fantasy.

I really enjoyed your response to this. A lot of people seem to bust its balls for maybe not being exactly what they were hoping for or, probably more so, its mainstream success and Oscar win.
But it's a really good movie. Really great filmmaking. In my opinion, a return to form, the return to form that was needed, for Del Toro.


Tue Dec 04, 2018 4:27 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

For me it's 2017's La La Land, an entertaining, heart warming homage to classic films that, allright, isn't some revolutionary masterpiece but at least warrants a nice time at the movie theater. It's not my favorite of the Oscar nominees, but I'm fine with it winning. Also, Del Toro seems like a really kind person who genuinely loves cinema, so that's a plus.
I'm glad Del Toro took this route instead of making another Pacific Rim.


Tue Dec 04, 2018 4:48 am
Profile WWW
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Popcorn Reviews wrote:
I liked The Shape of Water quite a bit, but it had a couple idiotic scenes. For instance, when she flooded the bathroom to have sex with the monster. My reaction was "Can you seriously not see any of the ways this can backfire?" Or, how she'd masturbate in the bathtub, causing her to show up late to work. However, I agree that The Shape of Water is really good, and although it wouldn't be my choice for Best Picture, I'm glad a science fiction film finally won.


I think one of the key subplots in Shape of Water was Eliza's sexual awakening. From the beginning of the film with the egg timer, it appears that she is reaching out for human contact in a way that she can't explain. Although she mainly has a good friendship with Giles, it's clear that he won't work for her. Same thing for Zelda. And although Strickland seems willing, a combination of his rampant ego and her good taste keeps her strictly on the side of not interested. But as she starts to get to know the creature, her feelings for him start to multiply.

I just read this article the other day that implies that she's part human/part fish just like the creature. Thinking about it in that way does clear some things up, although I'm not sure why it didn't get hinted at in the film itself.


Wed Dec 05, 2018 3:12 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Coraline (2009)

Poor Coraline (Dakota Fanning). Her mother Mel (Teri Hatcher) is uptight and her father Charlie (John Hodgman) is too focused on his work to pay much attention. She has only annoying kid Wybie (Robert Bailey, Jr), circus rat trainer Mr. Bobinsky (Ian McShane) and former showgirls Miss Spink and Miss Forcible (Jennifer Saunders and Dawn French) that even notice her.

But one night when she opens a locked door, she finds a new set of parents who seem eager to dote on her and cater to her whims. But as Wybie's suspicious cat (Keith David) opines, things aren't necessarily all that's cracked up to be. Things Coraline learns on further visits.

I got a wonderfully dark Halloween animated tale that fits right in with The Nightmare Before Christmas (director Henry Selick also did that one) and Paranorman. I had kinda given up on animated films giving us nightmare fuel like in some 1980s and early 1990s animated fare (such as All Dogs Go to Heaven 2). But this one delivers in spades and is probably the best Teri Hatcher performance and one of Dakota's best performances. Also dug the fact that it displayed a fairly realistic depiction of a dysfunctional family.

If anything, I do have a few issues with the third act and how it led to the conclusion. Mainly, it felt a bit on the rushed side as things could have been explained a bit better.

But it's definitely rock solid and I'm off to a decent November.

NEXT: My strong start stalls out in a heist gone horribly wrong.


Wed Dec 05, 2018 9:02 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Apex Predator wrote:

I think one of the key subplots in Shape of Water was Eliza's sexual awakening. From the beginning of the film with the egg timer, it appears that she is reaching out for human contact in a way that she can't explain. Although she mainly has a good friendship with Giles, it's clear that he won't work for her. Same thing for Zelda. And although Strickland seems willing, a combination of his rampant ego and her good taste keeps her strictly on the side of not interested. But as she starts to get to know the creature, her feelings for him start to multiply.

I just read this article the other day that implies that she's part human/part fish just like the creature. Thinking about it in that way does clear some things up, although I'm not sure why it didn't get hinted at in the film itself.

I feel like the film could've pulled that off in ways which didn't seem wildly illogical.

_________________
Top 30 Favorite Films of All Time


Wed Dec 05, 2018 9:19 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Apex Predator wrote:
Coraline (2009)

Poor Coraline (Dakota Fanning). Her mother Mel (Teri Hatcher) is uptight and her father Charlie (John Hodgman) is too focused on his work to pay much attention. She has only annoying kid Wybie (Robert Bailey, Jr), circus rat trainer Mr. Bobinsky (Ian McShane) and former showgirls Miss Spink and Miss Forcible (Jennifer Saunders and Dawn French) that even notice her.

But one night when she opens a locked door, she finds a new set of parents who seem eager to dote on her and cater to her whims. But as Wybie's suspicious cat (Keith David) opines, things aren't necessarily all that's cracked up to be. Things Coraline learns on further visits.

I got a wonderfully dark Halloween animated tale that fits right in with The Nightmare Before Christmas (director Henry Selick also did that one) and Paranorman. I had kinda given up on animated films giving us nightmare fuel like in some 1980s and early 1990s animated fare (such as All Dogs Go to Heaven 2). But this one delivers in spades and is probably the best Teri Hatcher performance and one of Dakota's best performances. Also dug the fact that it displayed a fairly realistic depiction of a dysfunctional family.

If anything, I do have a few issues with the third act and how it led to the conclusion. Mainly, it felt a bit on the rushed side as things could have been explained a bit better.

But it's definitely rock solid and I'm off to a decent November.

NEXT: My strong start stalls out in a heist gone horribly wrong.

I'm a pretty big fan of that one. Great blend of animation and horror.

_________________
Top 30 Favorite Films of All Time


Wed Dec 05, 2018 9:20 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Love Coraline. Gorgeous animation and deeper than most animated films.

_________________
--- UNDER CONSTRUCTION ---


Wed Dec 05, 2018 10:09 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Popcorn Reviews wrote:
I feel like the film could've pulled that off in ways which didn't seem wildly illogical.

It is a fantasy. :P


Wed Dec 05, 2018 12:58 pm
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Thief wrote:
Love Coraline. Gorgeous animation and deeper than most animated films.

Agreed. Excellent.


Wed Dec 05, 2018 12:58 pm
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Wooley wrote:
It is a fantasy. :P

Yeah, but the characters should still make rational decisions.

_________________
Top 30 Favorite Films of All Time


Wed Dec 05, 2018 9:18 pm
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Popcorn Reviews wrote:
Yeah, but the characters should still make rational decisions.

What is a rational decision about interacting with a fish-man?
Also, I felt the movie made it pretty clear that she liked to transgress and desperately wanted to live a life more on the edge, which is why I think that scene in particular is the centerpiece of the film. It's the moment when she simply throws all caution and reason to the wind, once and for all.


Thu Dec 06, 2018 1:06 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Wooley wrote:
What is a rational decision about interacting with a fish-man?
Also, I felt the movie made it pretty clear that she liked to transgress and desperately wanted to live a life more on the edge, which is why I think that scene in particular is the centerpiece of the film. It's the moment when she simply throws all caution and reason to the wind, once and for all.

Okay, fair enough.

_________________
Top 30 Favorite Films of All Time


Thu Dec 06, 2018 1:55 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

The Vault (2017)

Three siblings (Taryn Manning, Francesca Eastwood, Scott Haze) decide to rob a bank to save his brother from some thugs. Things work, at first, as they're able to get some money and pretty much every employee is accounted for. After helping one sibling avoid tripping an alarm by inputting a code, the assistant manager (James Franco) informs them of a secret basement vault with millions locked inside. But he didn't tell them everything about it.

The family dynamic shifting is the best part of this film. We see that the brother doesn't quite have the heart to be ruthless (as he escorts the head teller to a bathroom, they start a revealing conversation) and the sisters are kind of at odds due to abandonment issues. But as the film goes about its plot, the dynamics change until the end.

Sadly, the horror element is a complete whiff. The only horrible thing that happens is that 80-90 minutes or so get wasted. Perhaps there were links to an earlier botched robbery in 1982. But its elements make zero sense especially when it tries to go all Saw with the reveals in the last 10 minutes or so.

If you do a shot every time a shot of James Franco looking concerned or vaguely sinister occurs onscreen, then you'll be gone well before the film runs out of plot and reels.

Keep this one in the discount vault.

NEXT: More family dynamics as an outsider teen finds himself in trouble thousands of miles away.


Sat Dec 08, 2018 3:58 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Plans for December:

Santa as a Character: The Christmas Chronicles (2018)
Film with Winter in the title/Film Set in the Snow: Dead of Winter (2014)
Film with Christmas/Holiday in Title: A Christmas Carol (2015)
Foreign Holiday Film/Christmas or Holiday Horror: Grandmother's House (2001)
Film About the Nativity: The Star (2017)
Documentary about Christmas or Holidays: Santa Quest (2014)
Christmas or Holiday animated film/90% or higher RT score: Tokyo Godfathers (2003)
Minority led Christmas/Holiday film: Miss Me This Christmas (2017)
Christmas/Holiday film based on a book/play: A Christmas Carol (2015)
An adaption of the Christmas Carol: A Christmas Carol (2015)
Christmas/Holiday film nominated for an Oscar: It's a Wonderful Life (1946) re-watch
Christmas/Holiday film made before 1930: A Parish Priest's Christmas (1906)

Some catchup for November/Beating the Deadline Wire for December
Monster Trucks (2017)
Moonlight (2016)
Spotlight (2015)

I think that's enough but it's always possible that I see more/different ones. I'll see if I can knock out several during this winter storm taking place Saturday/Sunday.


Sat Dec 08, 2018 4:02 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Wooley wrote:
What is a rational decision about interacting with a fish-man?
Also, I felt the movie made it pretty clear that she liked to transgress and desperately wanted to live a life more on the edge, which is why I think that scene in particular is the centerpiece of the film. It's the moment when she simply throws all caution and reason to the wind, once and for all.


I had issues with two specific moments from the film, and although they are two relatively minor plotpoints, they rang with me in a not so good way.

1. The revelation that the waiter that Richard Jenkins' character was chatting with, was a racist. I don't think it was necessary, it was already established that the guy was a bit of an asshole, so throwing that in felt like an unnecessary shove towards that area. It felt forced narratively speaking.
2. Eliza's graphical explanation of how the fish-man's sexual organs work. Again, it was another unnecessary moment that added nothing to the plot or the overall theme, but rather lowered the film's own bar.


Overall, both moments felt like the script not giving enough credit to its audience. I still liked the film, thought it was ok/cute. I liked the heist aspect of the first half, I thought the romantic aspect of the second half was merely ok. There's a nice theme about outcasts and how they find their way to flourish, so to speak, but I never felt this was Best Picture material.

_________________
--- UNDER CONSTRUCTION ---


Sat Dec 08, 2018 4:08 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Thief wrote:

I had issues with two specific moments from the film, and although they are two relatively minor plotpoints, they rang with me in a not so good way.

1. The revelation that the waiter that Richard Jenkins' character was chatting with, was a racist. I don't think it was necessary, it was already established that the guy was a bit of an asshole, so throwing that in felt like an unnecessary shove towards that area. It felt forced narratively speaking.
2. Eliza's graphical explanation of how the fish-man's sexual organs work. Again, it was another unnecessary moment that added nothing to the plot or the overall theme, but rather lowered the film's own bar.


Overall, both moments felt like the script not giving enough credit to its audience. I still liked the film, thought it was ok/cute. I liked the heist aspect of the first half, I thought the romantic aspect of the second half was merely ok. There's a nice theme about outcasts and how they find their way to flourish, so to speak, but I never felt this was Best Picture material.


I saw both moments a bit differently.

1. You could argue it was a bit of piling on and I would not disagree. But I think it also served as an additional point of disillusionment for Giles's character. He had held the pie diner with rose colored glasses. But between the reaction to the failed pass and the refusal to serve the woman in the diner, his idealism was replaced by a more realistic reality. I think you could also perhaps make a case that they were trying to refer to the turbulent times of when the film was set with both the civil rights era and the acceptance of homosexuality still to come, but not quite there yet.

2. Probably was unnecessary. I do think one of the subplots in Shape of Water was Eliza's sexual awakening and how she went from timing herself in the bathtub to having a "relationship" with the creature. Part of that, I suppose, is letting her good friend know why she was in a good mood. Maybe it's a bit more of a reach than number 1, but I don't think it cheapened anything. It might have also indicated that her friendship with Zelda was strong.


Among films from this decade that won best picture, I think The Shape of Water is behind Boyhood, The Artist and 12 Years a Slave. I'm not even sure it's better than Dunkirk. But on the whole, I did think it was pretty good.


Sat Dec 08, 2018 9:37 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Apex Predator wrote:

Among films from this decade that won best picture, I think The Shape of Water is behind Boyhood, The Artist and 12 Years a Slave. I'm not even sure it's better than Dunkirk.
I would hope not, since Dunkirk was my favorite movie from last year :D Seriously though, while I didn't like Shape quite as much (as I sympathize with a lot of the complaints other people make about it), and it isn't my favorite del Toro movie either (that would be Pan's Labyrinth, one of my all-time favorites), I still liked it a lot; it had this sort quirky, enchanting, one-of-a-kind magic about it that very few other films can compare to, and while I respect that its sometimes rather over the top, go-for-broke style and sensibilities would turn off a number of viewers, it's that very lack of restraint on the part of GDT when he made it that made it so unique and enjoyable for me personally. At the very least, it's better that it won Best Picture than just another real-life "prestige" pic like Darkest Hour, am I right?

_________________
Recently Reviewed


Mon Dec 10, 2018 7:46 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Stu wrote:
I would hope not, since Dunkirk was my favorite movie from last year :D Seriously though, while I didn't like Shape quite as much (as I sympathize with a lot of the complaints other people make about it), and it isn't my favorite del Toro movie either (that would be Pan's Labyrinth, one of my all-time favorites), I still liked it a lot; it had this sort quirky, enchanting, one-of-a-kind magic about it that very few other films can compare to, and while I respect that its sometimes rather over the top, go-for-broke style and sensibilities would turn off a number of viewers, it's that very lack of restraint on the part of GDT when he made it that made it so unique and enjoyable for me personally. At the very least, it's better that it won Best Picture than just another real-life "prestige" pic like Darkest Hour, am I right?


Kinda torn between the old school meeting the new school feel of Dunkirk and the magical, quirky fairy tale of Shape of Water.

Pan's Labyrinth is the best Del Toro film.

Agreed that it was better to see TSOW win out over a more typical "prestige" pic like Darkest Hour or The Post.


Mon Dec 10, 2018 9:02 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

While I knew beforehand that I'm not a huge buff in terms of the Oscars, I was still surprised to learn that I've only seen 3 Best Picture winners of the 2010's when I went to check (in my defense, I don't care as much about the Oscars as opposed to other best of the year lists such as AFI and Sight & Sound). Out of the ones I've seen though, Moonlight is my favorite by a long stretch. I'll have to watch Birdman again to decide whether I like it more or less than TSOW.

I'll likely see 12 Years a Slave and The Artist, but are any other ones worth checking out.

_________________
Top 30 Favorite Films of All Time


Mon Dec 10, 2018 10:41 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Popcorn Reviews wrote:
I'll likely see 12 Years a Slave and The Artist, but are any other ones worth checking out.

Spotlight


Mon Dec 10, 2018 10:46 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Jinnistan wrote:
Spotlight

Okay.

_________________
Top 30 Favorite Films of All Time


Mon Dec 10, 2018 10:49 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Popcorn Reviews wrote:
While I knew beforehand that I'm not a huge buff in terms of the Oscars, I was still surprised to learn that I've only seen 3 Best Picture winners of the 2010's when I went to check (in my defense, I don't care as much about the Oscars as opposed to other best of the year lists such as AFI and Sight & Sound). Out of the ones I've seen though, Moonlight is my favorite by a long stretch. I'll have to watch Birdman again to decide whether I like it more or less than TSOW.

I'll likely see 12 Years a Slave and The Artist, but are any other ones worth checking out.


Spotlight is the only one I haven't seen from the 2010s winners, but I would consider all of the other ones to be enjoyable/watchable at the very least. I would agree that Moonlight is the best of the bunch by a long stretch. The Artist would be the one I need to rewatch.

_________________
--- UNDER CONSTRUCTION ---


Mon Dec 10, 2018 11:10 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Apex Predator wrote:


Pan's Labyrinth is the best Del Toro film.


Probably my second or third favorite. It's definitely behind The Devil's Backbone for me, which is one of my 5 or 10 favorite films of that decade, and may be just behind or even with Cronos.


Tue Dec 11, 2018 10:59 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

The ones I haven't seen in the 2010s are Spotlight which I plan on seeing this month and Argo. Yes, Argo.

Will agree with Thief's assessment on how all the Oscar winners are watchable to great. Even a somewhat maligned film like The King's Speech has Geoffrey Rush and a finale that seems inspired by Rocky as much as anything else.

Hoping that The Devil's Backbone is among the films up to see next spring on campus as they are doing some Spanish language films. I think they've shown Pan's Labyrinth already?


Wed Dec 12, 2018 8:35 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Take Me to the River (2015):

As the film opens, Ryder (Logan Miller) debates on whether to come out to his relatives in Nebraska. His mother Cindy (Robin Weigert) talks him out of it saying they wouldn't understand.

Once there, Ryder is mainly ostracized due to his city ways. One exception is nine year old relative Molly who takes to his drawing and his California ways.

But things take a turn in a barn where she ran out screaming and accusations start to fly. Things start to calm down, but reality takes some unexpected twists amid the corn.

I do get why they kept things vague in the barn; it does make you wonder what really happened. They do a decent job of playing children's laughter as a sinister thing. As her father Keith (Josh Hamilton) keeps things unsettled by warming up to Ryder, you never know whether it's going to be due to forgiveness or a more sinister game. Also notable is that Cindy starts to change in Nebraska, perhaps to keep the peace or maybe there's more?

But, it turns into some Jerry Springer high toned antics where maybe something happened years before. But maybe not. The vagueness that worked in the main scenario doesn't work nearly as well when we're searching for answers/clues.

Perhaps in defter hands, this could have worked. But first time director Matt Sobel is overwhelmed by trying to tie its narrative into larger ideas. And the film is too vague for its own darn good.

A missed opportunity.

NEXT: My first 2019 film (yeah, you heard that right), one that comes across more like warm embers than an inferno.


Fri Dec 14, 2018 11:13 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Apex Predator wrote:
Take Me to the River (2015):

As the film opens, Ryder (Logan Miller) debates on whether to come out to his relatives in Nebraska. His mother Cindy (Robin Weigert) talks him out of it saying they wouldn't understand.

Once there, Ryder is mainly ostracized due to his city ways. One exception is nine year old relative Molly who takes to his drawing and his California ways.

But things take a turn in a barn where she ran out screaming and accusations start to fly. Things start to calm down, but reality takes some unexpected twists amid the corn.

I do get why they kept things vague in the barn; it does make you wonder what really happened. They do a decent job of playing children's laughter as a sinister thing. As her father Keith (Josh Hamilton) keeps things unsettled by warming up to Ryder, you never know whether it's going to be due to forgiveness or a more sinister game. Also notable is that Cindy starts to change in Nebraska, perhaps to keep the peace or maybe there's more?

But, it turns into some Jerry Springer high toned antics where maybe something happened years before. But maybe not. The vagueness that worked in the main scenario doesn't work nearly as well when we're searching for answers/clues.

Perhaps in defter hands, this could have worked. But first time director Matt Sobel is overwhelmed by trying to tie its narrative into larger ideas. And the film is too vague for its own darn good.

A missed opportunity.

NEXT: My first 2019 film (yeah, you heard that right), one that comes across more like warm embers than an inferno.


I think that it's pretty clear what is meant to have happened in the past: namely that the
mom and the uncle were playing some sort of sex games with each other and he was the one who got the brunt of the trouble for it.


What I think is incredibly unclear is how it ties into the
behavior we see from the little girl. Are we supposed to believe that she plays these "games" with her father?

The idea that she is being sexually abused is kind of the only thing that makes sense to me. It could explain why she might already have an injury that would be reopened by what she does with her cousin in the barn. It would explain why she has no problem when her father seemingly orders her to "play" with the cousin again.


My biggest issue with the film was simply the dumb behavior. If you've been accused of sexual impropriety, why would you ever, EVER allow yourself to be alone with a child again?

Here's a review I wrote right after watching it: (SPOILERS)

A young man visiting relatives in rural Nebraska goes into a barn to play a game with a 9 year old cousin. She emerges screaming from the barn with a blood-stained dress and, to put it mildly, things go downhill from there.

The strongest element of this film is also the element that makes it the most frustrating as a viewer--namely this is a movie that commits completely to holding the point of view of the main character, Ryder. There are undercurrents of emotion and resentment roiling beneath the setting of a folksy family reunion, in particular some very strained and strange dynamics between Ryder's mother and her brother (the father of the 9 year old girl). Ryder is totally lost at sea because not only is he on unfamiliar ground (a gay, California city boy out in the country), but his parents and especially his mother behave in a seemingly irrational manner as events continue to escalate.

By the middle of the movie I was thinking "Will someone just PLEASE explain what is going on here?!?!?!". On the one hand, I appreciate that this is exactly how Ryder himself must feel. But on the other hand, I got anxious and frustrated waiting for the film to reveal the background context needed to understand what was happening--to the point that it was hard to sit through scene after scene of coded conversations and meaningful looks.

I thought that the acting was very strong across the board, including the children.

Aside from feeling like the limited point-of-view was a double-edged sword, my only other criticism is that there were certain character actions that were just way too illogical or dumb. For example, despite the fact that he was all but accused of molesting his cousin, Ryder several times allows himself to be alone with other young girls without any other adults even in earshot. I just didn't believe it. Why if you had been accused (and also implicitly threatened) would you ever allow yourself to be in a position again where there were no witnesses to your behavior? There were a few character decisions (necessary to move the plot along) that didn't feel like real character choices--and they stand out because for the most part the acting and writing does come across as very realistic.

Generally speaking this is one I'd recommend, especially if you can watch it for free on a streaming service as I did.


Fri Dec 14, 2018 12:06 pm
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Takoma1 wrote:

I think that it's pretty clear what is meant to have happened in the past: namely that the
mom and the uncle were playing some sort of sex games with each other and he was the one who got the brunt of the trouble for it.


What I think is incredibly unclear is how it ties into the
behavior we see from the little girl. Are we supposed to believe that she plays these "games" with her father?

The idea that she is being sexually abused is kind of the only thing that makes sense to me. It could explain why she might already have an injury that would be reopened by what she does with her cousin in the barn. It would explain why she has no problem when her father seemingly orders her to "play" with the cousin again.


My biggest issue with the film was simply the dumb behavior. If you've been accused of sexual impropriety, why would you ever, EVER allow yourself to be alone with a child again?

Here's a review I wrote right after watching it: (SPOILERS)

A young man visiting relatives in rural Nebraska goes into a barn to play a game with a 9 year old cousin. She emerges screaming from the barn with a blood-stained dress and, to put it mildly, things go downhill from there.

The strongest element of this film is also the element that makes it the most frustrating as a viewer--namely this is a movie that commits completely to holding the point of view of the main character, Ryder. There are undercurrents of emotion and resentment roiling beneath the setting of a folksy family reunion, in particular some very strained and strange dynamics between Ryder's mother and her brother (the father of the 9 year old girl). Ryder is totally lost at sea because not only is he on unfamiliar ground (a gay, California city boy out in the country), but his parents and especially his mother behave in a seemingly irrational manner as events continue to escalate.

By the middle of the movie I was thinking "Will someone just PLEASE explain what is going on here?!?!?!". On the one hand, I appreciate that this is exactly how Ryder himself must feel. But on the other hand, I got anxious and frustrated waiting for the film to reveal the background context needed to understand what was happening--to the point that it was hard to sit through scene after scene of coded conversations and meaningful looks.

I thought that the acting was very strong across the board, including the children.

Aside from feeling like the limited point-of-view was a double-edged sword, my only other criticism is that there were certain character actions that were just way too illogical or dumb. For example, despite the fact that he was all but accused of molesting his cousin, Ryder several times allows himself to be alone with other young girls without any other adults even in earshot. I just didn't believe it. Why if you had been accused (and also implicitly threatened) would you ever allow yourself to be in a position again where there were no witnesses to your behavior? There were a few character decisions (necessary to move the plot along) that didn't feel like real character choices--and they stand out because for the most part the acting and writing does come across as very realistic.

Generally speaking this is one I'd recommend, especially if you can watch it for free on a streaming service as I did.


The past is more clear than the present...yeah, I think something happened between brother and sister. Which might explain why she acts so strangely after awhile (You want a pop).

I think there's also some major league resentment going on among the brother against the sister. Note there seems to be an issue on his part that she moved to the west coast. Almost like she ruined his life due to the accusation. Whether it was true or not doesn't matter.

Been thinking about this for a while and might require a leap of logic, but perhaps he was taking a page from Miss Havisham in Great Expectations? The woman left at the alter with the moldy cake and wearing presumably the wedding dress she'll never use? Much like how she raised Estella to break the hearts of young men out of sheer vengeance, perhaps Keith was doing the same with Molly? Using her to slam a blow on his sister Cindy by slandering the name of her son Ryder? Although I kind of lean on nothing happening in the barn, note that after the very public accusation, everything else is handled "in house" in private.

What makes this a leap in logic is having Molly convinced to lie about what happened and constantly get on him if she was attacked by her father. I'm not sure how to reconcile this part.

But one thing that might explain why he's less afraid of Ryder doing anything with the girls is that Keith infers that he might be gay. Consider how he bonded more with the girls than the boys at the party. And throw in the salmon shorts and the song. He thinks they are safe with him because he's not biologically interested in them. Perhaps he's smarter than people think?


Sat Dec 15, 2018 9:45 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Apex Predator wrote:
The past is more clear than the present...yeah, I think something happened between brother and sister. Which might explain why she acts so strangely after awhile (You want a pop).

I think there's also some major league resentment going on among the brother against the sister. Note there seems to be an issue on his part that she moved to the west coast. Almost like she ruined his life due to the accusation. Whether it was true or not doesn't matter.

Been thinking about this for a while and might require a leap of logic, but perhaps he was taking a page from Miss Havisham in Great Expectations? The woman left at the alter with the moldy cake and wearing presumably the wedding dress she'll never use? Much like how she raised Estella to break the hearts of young men out of sheer vengeance, perhaps Keith was doing the same with Molly? Using her to slam a blow on his sister Cindy by slandering the name of her son Ryder? Although I kind of lean on nothing happening in the barn, note that after the very public accusation, everything else is handled "in house" in private.

What makes this a leap in logic is having Molly convinced to lie about what happened and constantly get on him if she was attacked by her father. I'm not sure how to reconcile this part.

But one thing that might explain why he's less afraid of Ryder doing anything with the girls is that Keith infers that he might be gay. Consider how he bonded more with the girls than the boys at the party. And throw in the salmon shorts and the song. He thinks they are safe with him because he's not biologically interested in them. Perhaps he's smarter than people think?


Well, it's important to remember that
many children are sexually abused under the guise of it being a game. When we actually see what Molly does with Ryder, she's basically grinding her crotch on the back of his neck--she's masturbating, but outside of a sexual context. So it feels good to her and if a man taught her to play that "game", she wouldn't necessarily think of it as something shameful. I find it pretty implausible that a man would sexually abuse his daughter just so that one day he might be able to implicate his nephew in a sex crime as revenge for something his sister did. I think it's more likely that whatever messed up stuff was already happening let Keith conveniently shove some of that shame and suspicion in his sister's direction.

I think that it's pretty clear from the conversation that the brother and sister played sex games together (probably with the sister doing a similar grinding/masturbation thing on her brother's shoulders) and he got in trouble:
Uncle: Didn't your mother teach you that one Ryder? She used to love that game when we were little. She was always asking me to go down to the river with her . . . to go chicken fighting.
Mom: What is this?!
Uncle: Your grandma always thought that game was my idea. But it was really yours, wasn't it Cindy?
Ryder: Mom?
Mom: I'm sorry. It's my fault. I was just so young. I didn't know what I was doing.

I actually felt like Ryder's homosexuality made him more of a target, along the conservative thinking that gay people are sexual predators (and in this notion they target both boys and girls). I don't think that Keith thinks Ryder is any real threat, but to the homophobic extended family, Ryder being gay makes him a much easier scapegoat.

Do we know that Molly lies about anything? I honestly don't remember if we actually hear her say anything definitive about what happened in the barn. And her willingness to be around Ryder would seem to reflect that whatever led to her bleeding wasn't something that he did to her or he would be much more wary of him.

What drove me crazy was that Ryder went to that house with the family. And that his parents let him go. Like, why? WHY?! If my child had been targeted that way, I would be reluctant to even let him out of my sight. I found a lot of the second half of the film really frustrating in this regard.


Sat Dec 15, 2018 12:04 pm
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

To be fair, it was a bit of a reach. But I do want to point out that

The accusation is in public. If things were fine, then shouldn't they have apologized to the others? And where was the apology to the family?
And why did they choose Under Pressure at the end?


I'm ready to tackle the next one.


Fri Dec 21, 2018 4:40 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Wildland (2019)

Yeah, you heard right. This is a 2019 release.

Before it goes into theaters January 2019, Independent Lens showed this one in late October and yeah, I finally got around to seeing it in November.

Originally called Young Men and Fire before (take your pick):

a) The family of Norman MacLean (the writer behind A River Runs Through It) objected)
or
b) The directors decided to consent changing its name to reflect that there are female firefighters as well (even though none of them appear in this movie, LOL)

What we're left with here in this documentary is an introduction to several instructors of a wildland firefighting crew as they take eager rookies through the process. We also meet several firefighters including a young man from Kansas in search of himself, a tattoo artist who some fear might be too old for this, and a man from Massachusetts in search of adventure. In the course of one season, they'll deal with both the boredom of waiting for something to happen and the occasional moments where they'll have to put their skills to the test.

As a sketch, it worked well enough, although we had probably more than enough time to flesh out some of these other firefighters (including several ex-cons). There are sections where one man was reading from a book (which might have been Young Men and Fire at one point, but it's clearly something else). I think they were trying to go with something lyrical, but it whiffs in that department.

It's certainly a timely release (California wildfires, anyone?), but it could have been better done. Maybe the theatrical release will show more?

Next: Of divorce and crashing weddings.


Fri Dec 21, 2018 4:59 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

The Philadelphia Story (1940)
See a 1940s film that didn't win best picture, but was nominated

Outside of that opening scene and the closing, this was a pretty nifty film.

The film opens as Tracy (Katherine Hepburn) and CK (Cary Grant) are having a tremendous fight. She's kicking him out of the house, presumably to divorce him. She throws out some of his stuff. She breaks a golf club over her knee. He piefaces her and she rubs her neck.

Oh, great, it's gonna be one of those films.... :roll:

Except it isn't, thankfully.

On the eve of her wedding to George, "the man of the people", CK is urged by magazine publisher Sidney to help reporter Mike Connor (James Stewart) and photographer Elizabeth (Ruth Hussey) to get an in to the spectacle. CK has been working in South America, but he so happens to know a diplomat who happens to be his ex's brother.

Once there, she threatens to ruin everything until it turns out that Sidney has an article about a dalliance between her father and a showgirl so she reluctantly lets them stay. She starts to see the good qualities of Mike (who may or may not have a thing towards Elizabeth) and perhaps even CK. But what happens the night before could change everything.

The film works in two ways. Not only is it hilarious, but it also dives into what truly caused the breakup of the marriage (as expected, like in real life, there are multiple factors). Really appreciated how characters had to look from within as well as things said and done.

The ending kinda feels rushed and almost random. It doesn't hold up as well as the rest of the film (outside of the jarring opener).

Highly recommended, but I'm thinking I was one of the last to see it.

NEXT: It's always one last getaway, until it isn't.


Sat Dec 29, 2018 4:25 am
Profile
User avatar
Reply with quote
Post Re: Apex Predator's Film Thread Volume 2.0

Baby Driver

When I went home post-Thanksgiving, I had no idea what to expect. But apparently my mother did. She was raving about this one.

For the most part, she was right.

Baby (Ansel Elgort) is a getaway driver with tinnitus after a car crash took out his parents but luckily he also uses his love of music to help his charges elude the cops with a combination of speed and skillful driving. He spends time at home with his deaf foster father who worries about him.

Then he meets with diner waitress Debora (Lily James) and things start to click. He makes plans for leaving the business after one more heist, a bank robbery that ends up more complicated but still successful.

So Debora and Baby start making plans to perhaps get out of there and live off of Baby's savings. But criminal boss Doc (Kevin Spacey) has other ideas...namely a post office heist that could score millions. But tensions among the crew (Jon Hamm, Jamie Foxx, and Eiza Gonzalez) as well as some unexpected obstacles place the success perhaps out of reach.

I've heard this described as a musical with cars instead of people singing. Perhaps. It does have the feel for a GTA video game with a cool soundtrack and interesting characters.

The driving sequences are well done and you feel for Baby and his plight as he's stuck increasingly in a no-win situation that places those he loves or cares for at risk.

Outside of the car, things feel less deft particularly in the third act which turns into more of a standard crime action drama than anything. It culminates in a sequence that has to be seen to be disbelieved.


Overall, it was a fun ride. I just wish they thought the film through in the third act, though.

NEXT: Who you gonna call?


Thu Jan 03, 2019 3:31 am
Profile
Display posts from previous:  Sort by  
Reply to topic   [ 565 posts ]  Go to page Previous  1 ... 8, 9, 10, 11, 12  Next

Who is online

Users browsing this forum: Melancholia and 27 guests


You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot post attachments in this forum

Powered by phpBB © 2000, 2002, 2005, 2007 phpBB Group.
Designed by STSoftware.