There was also some sex.
[Movies] Talk about the last movie you saw 2: Electric Threadaloo
- Thread starter Dave
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P
Philosopher B.
Oh, yeah, well you know, sex.
Y
YAOMTC
I'm on my month free trial of Netflix, and this time around I watched The Rocketeer. It was better than I was expecting! Very fun movie. It's a bit like Iron Man but set in 1938, and instead of a genius inventor creating an armored jetpack suit, it's a down-on-his-luck pilot who stumbles upon a jetpack and gets into deep water with the FBI and mobsters working with a Nazi spy. Definitely gonna buy this one at some point.
figmentPez
Staff member
The Rocke-who?
:sneaky:
:sneaky:
Yes, this, very much.
Memento on the other hand, was better than I thought it would be. Absolutely compelling, and brilliantly done.
It was a shame the movie was so stupid.
Speaking of Liam Neeson... do NOT see "The Other Man" with him, Antonio Bandaras and Laura Linney. What a horrible, poorly edited mess. And the cherry on the top is the Nicholas Sparks-ish ending that honestly just pissed me and my wife off. Manipulative, sleazy, stupid filmmaking. Also add this to the list of "hollywood movie who have screenwriters who think cheating on your spouse is romantic" 
Seriously, we love to go through the Netflix "romance" suggestions. At least half the films it offers are "Something something Affair" or "Forbiden Love". Here's a hint Netflix: the destruction of someones marriage, family and life because they want to get their rocks off isn't "romance".
I think the next movie we are going to watch is "I'm through with White Girls". That has to be better.
Seriously, we love to go through the Netflix "romance" suggestions. At least half the films it offers are "Something something Affair" or "Forbiden Love". Here's a hint Netflix: the destruction of someones marriage, family and life because they want to get their rocks off isn't "romance".
I think the next movie we are going to watch is "I'm through with White Girls". That has to be better.
Seriously. What the hell? Did you catch the clunky editing as well? Every time it shifted forward or backwards in time it was like THUD, there was no flow to the movie, it was so awkwardly paced that even stupid vile endings aside it sucked.
Cajungal
Staff member
Seriously. What the hell? Did you catch the clunky editing as well? Every time it shifted forward or backwards in time it was like THUD, there was no flow to the movie, it was so awkwardly paced that even stupid vile endings aside it sucked.[/QUOTE]
It's true! It gave me freaking whiplash. And Antonio Banderas' "lust for life" seemed so fucking forced and untrue. It's as if the creators said, "Well the audience knows what kind of character we're going for, so don't put forth too much effort... they'll get the idea." It was just.... fucking.... ridiculous! And a waste of my time. I had Rocky Horror Picture Show AT MY FEET and I left that DVD in, thinking it might get better.
I just watched Dorkness Rising. It would have probably been a LOT funnier, if every single one of my gaming friends hadn't told me how great it was.
P
Philosopher B.
that movie.
God yes. I thought it was very entertaining. I hope they'll make more.
God yes. I thought it was very entertaining. I hope they'll make more.[/QUOTE]
I think they're already gearing up for the sequel. Downey Jr and Jude Law appeared to have had fun working together.
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Steven Soderburgin
Love that movie. I just bought Hitchcock/Truffaut and the discussion about Rear Window is really awesome. Truly one of his best films.
Cajungal
Staff member
^This reminds me. I was having a conversation with a classmate about how much I dislike Shia Labouef, and she loaned me Disturbia, telling me it would change my mind. It very much did not. I'd heard from many people whose opinions I value that it was good... and I just didn't like it. At all. Not a bit. It was still suspenseful at the end, but during most of the movie I was bored as hell watching a kid make snack cake sculptures and moon over his cute new neighbor. Snore.
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Steven Soderburgin
I saw 4 movies this weekend. I will talk about them!
Un Prophete: This film is directed by Jacques Audiard, and was nominated for the Best Foreign Language Oscar. It follows a rootless young French-born Arab man named Malik as he enters prison and learns about crime. He was arrested for some minor crime and, at the beginning of the film, is shy, quiet, and unsure of himself, without any outside family or friends to visit him. When he arrives, he meets an older crime boss who tells him he has to murder a witness who is being held in the prison or else Malik will be killed. The film then follows his ascension within the ranks of this criminal organization. It's an incredibly detailed, richly realized portrait of a criminal organization and of the forging of a young man suddenly and violently given purpose and finding a talent for crime. Tahar Rahim as Malik and especially Niels Arestrup as the aging crime boss give great performances.
The Ghost Writer: As it begins, we see a ferry approaching a dock. All the cars drive off save one. Cut to a body washing up on the shore. This is the former ghost writer for a former prime minister's memoirs. Ewen McGregor is brought in to replace him. He does fine work as he retraces his predecessor's steps, but the film belongs to the supporting performers. Pierce Brosnan is volatile and frustrated as the disgraced former Prime Minister and Olivia Williams is enigmatic and supremely guarded as his savvy wife. The two best scenes in the film feature Tom Wilkinson providing an amazing display of evasiveness and rhetorical maneuvering and Eli Wallach playing an old man who knows for sure that the body that washed up on the shore could not have been carried by the current from where the dead man supposedly committed suicide. This has what is probably my favorite final shot of the year so far. Really solid film. Roman Polanski does an excellent job establishing a sense of paranoid isolation. What might've been a smart but ultimately forgettable political thriller is elevated to a masterful exercise of mood in Polanski's hand.
Greenberg: Noah Baumbach's new film follows two people who are floating through life. Roger Greenberg (Ben Stiller) is 40, unemployed, just released from a mental hospital, and is taking care of his brother's large Hollywood home while he and is family are out of town. He meets Florence (Greta Gerwig), a young woman who is his brother's personal assistant. Greenberg is angry and bitter about the ways he feels life has been unfair to him. He's smart but caustic and habitually insincere, pushing everyone away from him, including his former friends with whom he tries to reconnect. Florence is generally okay with where she is and the friends she has, but sees something in Greenberg that draws her to him. This small film is both funny and sad, humane and tragic, tender, sharp, honest, harsh, and bittersweet. Gerwig is remarkable and Stiller reveals previously unknown depths. There is a small platitude passed from one character to another, a bit of contrite therapy wisdom that nevertheless resonates because of who the characters are: "Hurt people hurt people." It might be possibly to sum up Baumbach's films with those four words, but they would not reveal the ultimate humanity contained in this film.
Crazy Heart: Jeff Bridges recently won an Oscar for his role in this film, about an aging and alcoholic former country music legend named Bad Blake. The music also garnered Oscar attention, but not much else about this film did, and there is good reason for that. The film is disappointingly by the numbers. Bridges' gives Bad Blake soul and heart, and the songs are very good, but everything else unfortunately let me down. Maggie Gyllenhaal, also an Oscar nominee, does her best, but the script does her no favors. Every choice her character makes is made not because of the character, but because the script requires it. The scenes proceed dutifully, but without feeling or urgency. It's clear that Bridges' Oscar was more for his previous work than this particular film, though he certainly did elevate the film as a great performance can do.
Un Prophete: This film is directed by Jacques Audiard, and was nominated for the Best Foreign Language Oscar. It follows a rootless young French-born Arab man named Malik as he enters prison and learns about crime. He was arrested for some minor crime and, at the beginning of the film, is shy, quiet, and unsure of himself, without any outside family or friends to visit him. When he arrives, he meets an older crime boss who tells him he has to murder a witness who is being held in the prison or else Malik will be killed. The film then follows his ascension within the ranks of this criminal organization. It's an incredibly detailed, richly realized portrait of a criminal organization and of the forging of a young man suddenly and violently given purpose and finding a talent for crime. Tahar Rahim as Malik and especially Niels Arestrup as the aging crime boss give great performances.
The Ghost Writer: As it begins, we see a ferry approaching a dock. All the cars drive off save one. Cut to a body washing up on the shore. This is the former ghost writer for a former prime minister's memoirs. Ewen McGregor is brought in to replace him. He does fine work as he retraces his predecessor's steps, but the film belongs to the supporting performers. Pierce Brosnan is volatile and frustrated as the disgraced former Prime Minister and Olivia Williams is enigmatic and supremely guarded as his savvy wife. The two best scenes in the film feature Tom Wilkinson providing an amazing display of evasiveness and rhetorical maneuvering and Eli Wallach playing an old man who knows for sure that the body that washed up on the shore could not have been carried by the current from where the dead man supposedly committed suicide. This has what is probably my favorite final shot of the year so far. Really solid film. Roman Polanski does an excellent job establishing a sense of paranoid isolation. What might've been a smart but ultimately forgettable political thriller is elevated to a masterful exercise of mood in Polanski's hand.
Greenberg: Noah Baumbach's new film follows two people who are floating through life. Roger Greenberg (Ben Stiller) is 40, unemployed, just released from a mental hospital, and is taking care of his brother's large Hollywood home while he and is family are out of town. He meets Florence (Greta Gerwig), a young woman who is his brother's personal assistant. Greenberg is angry and bitter about the ways he feels life has been unfair to him. He's smart but caustic and habitually insincere, pushing everyone away from him, including his former friends with whom he tries to reconnect. Florence is generally okay with where she is and the friends she has, but sees something in Greenberg that draws her to him. This small film is both funny and sad, humane and tragic, tender, sharp, honest, harsh, and bittersweet. Gerwig is remarkable and Stiller reveals previously unknown depths. There is a small platitude passed from one character to another, a bit of contrite therapy wisdom that nevertheless resonates because of who the characters are: "Hurt people hurt people." It might be possibly to sum up Baumbach's films with those four words, but they would not reveal the ultimate humanity contained in this film.
Crazy Heart: Jeff Bridges recently won an Oscar for his role in this film, about an aging and alcoholic former country music legend named Bad Blake. The music also garnered Oscar attention, but not much else about this film did, and there is good reason for that. The film is disappointingly by the numbers. Bridges' gives Bad Blake soul and heart, and the songs are very good, but everything else unfortunately let me down. Maggie Gyllenhaal, also an Oscar nominee, does her best, but the script does her no favors. Every choice her character makes is made not because of the character, but because the script requires it. The scenes proceed dutifully, but without feeling or urgency. It's clear that Bridges' Oscar was more for his previous work than this particular film, though he certainly did elevate the film as a great performance can do.
I saw it on the big screen when it came out. It was a fun, simple adventure flick, that should have made more money. But it was never advertised to the right audience. And it barely made its money back.
I never knew why it hurt Billy Campbell and Jennifer Connelly's careers so much. Billy is still working but he never had a big lead since then, and Jennifer had to wait 10 years to get into another big budget leading role.
Watched 'young frankenstein' last night. and holy shit why did i not see this film before now? its fucking hillarious! and oh so quotable.
i mean... damn. pretty much every single scene in the move is comedy gold. everyone is amazing in it, but especially gene wilder and marty feldman. I think this is going to edge out the producers and blazing saddles as my favourite mel brooks films.
'thats pronounced FRONKenSTEEN!'
'BLUCHER! *whinny*'
and the entirety of the 'putting on the ritz' number. holy shit i couldn't stop laughing.
i mean... damn. pretty much every single scene in the move is comedy gold. everyone is amazing in it, but especially gene wilder and marty feldman. I think this is going to edge out the producers and blazing saddles as my favourite mel brooks films.
'thats pronounced FRONKenSTEEN!'
'BLUCHER! *whinny*'
and the entirety of the 'putting on the ritz' number. holy shit i couldn't stop laughing.
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Steven Soderburgin
Yeah, Young Frankenstein is amazing. Glad you enjoyed it!
This is hands down my favorite Hitchcock movie. The sound design on it is incredible, from the constant sounds of the neighborhood to the music wafting out of the composers loft. The composer neighbor writes a freakin' song over the course of the movie (bonus points if you can name the title of the song). I gotta say, if you haven't seen it, do so... it doesn't disappoint. Vertigo runs a close second but it's tied with North by Northwest in my eyes.
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Steven Soderburgin
What about Notorious?
On the recco of folks in the last thread, finally saw JCVD. Freakin' fantastic.
A few years ago, I would never have believed it if someone had told me that Van Damme starred in a dark existential comedy about himself and the nature of failed celebrity, and that it would be awesome. But this was just incredible.
JCVD fans and detractors alike have to see this movie.
A few years ago, I would never have believed it if someone had told me that Van Damme starred in a dark existential comedy about himself and the nature of failed celebrity, and that it would be awesome. But this was just incredible.
JCVD fans and detractors alike have to see this movie.
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Steven Soderburgin
Yeah, I liked the idea of JCVD more than I liked the actual movie -
- but it was a pretty surprising and fresh look at the life of a failed celebrity, and Van Damme's monologue was achingly personal.
I thought the bank robbery plot was poorly executed
Are you cussing with me?
---------- Post added at 05:50 PM ---------- Previous post was at 05:48 PM ----------
That's one of my absolute favorites! It's great.
I completely agree. This was one of the finest films I've ever seen. Never seen a film mix comedy and suspense so effectively.
I swear to God, in the last trash-collector's flashback, when the girl opens her mouth and said that word, I think my heart actually stopped, as one of the funniest devices of the film became bone-chillingly horrifying.
Hmm. Fff. I could have sworn there was a Death at a Funeral thread on here, but I can't find it. I'll just post in here: it was insanely funny and I laughed at it almost as hard as something like The Hangover or Hot Tub Time Machine.
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Steven Soderburgin
Death at a Funeral was funny but a bit uneven and jerky. The pacing is not nearly as good as the original, though I do think that James Marsden did a better job than Alan Tudyk in the same role. I felt really bad for Danny Glover, and it's quickly becoming clear that Tracy Morgan has a very, very limited range.
It's strange that the movie was remade in the first place, and Neil LaBute directing is even stranger. The tone the film goes for is far more broad and less restrained than the original, but the writing is essentially the same and most of the jokes still land even if the direction is not as tight.
Coincidence spotting: The original featured Firefly alum Alan Tudyk and this remake features Firefly alum Ron Glass.
It's strange that the movie was remade in the first place, and Neil LaBute directing is even stranger. The tone the film goes for is far more broad and less restrained than the original, but the writing is essentially the same and most of the jokes still land even if the direction is not as tight.
Coincidence spotting: The original featured Firefly alum Alan Tudyk and this remake features Firefly alum Ron Glass.