jonah
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I've seen Sleepaway Camp but not Deadly Friend, so I will check that out post haste, thanks george mcfly;
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What movie did you watch last night? (24 Viewers)
- Thread starter nlgbbbblth
- Start date
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Coriolanus
Wait. Dr Brian Cox is in this??
hermie
Well-Known Member
"Will somebody tell me why I read these goddamn spy novels?"
Last night, Spirit of the Beehive. Spanish movie made towards the end of the dictatorship but set in 1940 in a small village in Castilla y Leon. Plenty of subtle symbolism critiquing the regime. But also really worthwhile portrayal of childhood. Very dark and atmospheric, reminiscent more of Bergman or Scandavian cinema but with a hint of the imagery and surrealism of his contemporaries such as Bunuel. Highly recommended
Last night, Spirit of the Beehive. Spanish movie made towards the end of the dictatorship but set in 1940 in a small village in Castilla y Leon. Plenty of subtle symbolism critiquing the regime. But also really worthwhile portrayal of childhood. Very dark and atmospheric, reminiscent more of Bergman or Scandavian cinema but with a hint of the imagery and surrealism of his contemporaries such as Bunuel. Highly recommended
george mcfly
My Name Is Prince.
you're welcome
i'll try and think of some other options
there's always The Craft!
edit: actually just remembered another one, Firestarter. Weird one from the 80's with Drew Barrymore. The opening scene used to freak me out
David Kronenbourg
Well-Known Member
"Will somebody tell me why I read these goddamn spy novels?"
Last night, Spirit of the Beehive. Spanish movie made towards the end of the dictatorship but set in 1940 in a small village in Castilla y Leon. Plenty of subtle symbolism critiquing the regime. But also really worthwhile portrayal of childhood. Very dark and atmospheric, reminiscent more of Bergman or Scandavian cinema but with a hint of the imagery and surrealism of his contemporaries such as Bunuel. Highly recommended
Nice one. This is on my to watch list. Been putting it off for ages. Might watch it this weekend.
Cormcolash
Well-Known Member
THAT'S WHAT YOU GET FOR DROPPING YOUR BABY ON HIS HEAD!!!
Cormcolash
Well-Known Member
Switchblade Romance (Haute Tension is the actual French title)
george mcfly
My Name Is Prince.
i didn't think that was great. Martyrs now... that was pretty amazing
David Kronenbourg
Well-Known Member
Inside is my favourite french horror/evil woman film of the decade
http://www.imdb.com/title/tt0856288/
george mcfly
My Name Is Prince.
Psycho Punk
Active Member
Martyrs is some film. EEEEEEEEK!
Psycho Punk
Active Member
Next Door: Norwegian psychological horror thriller. Pretty good, 7/10. Makes you wonder whats real, great use of corridors and connecting rooms.
why can't everyone just talk about iron skies?
Tyrannosaur
Occasionally a film like this comes along and yours truly has a pop at it for being a little pointless. I've done it before regarding Irish cinema stating that we don't need films which portray the working class environment as being desperate and depressing. We in Ireland (or you in Ireland now that I'm in London dealing with your fucking germs, thanks christmas you massive snotty cunt) have at times in the last 15 years been told by many social studies that we have on of the highest standards of living on the planet and this has almost never been reflected in the film output during the same period. I've also said that it sticks in my craw that for the most part it seems that the film makers portraying the Irish working classes constantly seem to be middle class folks who seem to be almost speaking down to those they claim to speak for - or more acurately speak about - as many of the films seem to deal with thugs or drug addicts or whatever frankly cliche you choose to pick and the people making these films, in fact most of us have only ever met these types while being robbed or abused by them so how can you really ever expect any degree of verisimilitude in the work to begin with. Read Erasure by Perciville Everett for a good example of this (and yes that's where I picked up the word verisimilitude say it with me verisimilitude). Then a film like Tyrannosaur comes along, and okay it's not about Ireland it's set in Yorkshire but it does involve every cliche that's present in our cinemas portrayal of Irish society and from what I'm told Yorkshire is actually quite nice on the whole. So then, how do I pick this one apart? How can i call it out for being exploitative and pointless ? Well Washy you argumentative cunt ? See that poster up there that says it's class ? yeah are you going to say it's not class just to be a cunt ? are you ? how are you going to point some fingers here are you going to cop out say it's good so that everyone else on here can say "oh yeah typical if it were Irish you'd have said it was shit wouldn't you? you cunt.
Well i can't really argue with what everyone else seems to say. Virtually every single frame of Tyrannosaur is delivered with such a finely delivered stroke and attention to the details and nuances that it rings home as a truth. Not filtered or assumed truth but that Werner Herzog truth. All the cliches are here, sure, tough guys, battered wives, abusive husbands, semi-abandoned children, an Irish drunk and at it's core it's that old hooker (or in this case headcase) with a heart of gold tale. It's nothing we haven't seen before. So why does it work ?
Well Paddy Considine firstly seems to know the culture he's writing inside out and as such the script is taught and punchy enough to work. His direction is at times brutal but there is enough flashes of subtlety to avoid flying off the deep end into an over cooked pastiche. It's well paced, and most importantly it's story actually goes somewhere. It builds tension and constantly heads with a brutal velocity towards a climax as it unfolds had me more tense than any thriller I've seen in a long long time. In may ways it's reminisent of a western rather than an out and out grimfest. There's a hero (of sorts) a damsell in distress and some people who you really would rather see dead. This is a film that's not just content to explore the darker nature of it's character it's also quite clever. Though if the film was a lad down the pub and you called it clever it would probably shove a pool cue through your eye and take your crisps. Considine manages to write characters who are at times monsterous but ultimately deeply human and this makes the monster all the more frightening and the humanity all the more affecting. Peter Mullan is as usual utterly brilliant and horribly believable as Joseph the man/monster but this is Olivia Colmans film she's absolutely perfect as Hannah, that's pretty much as much as I can say she's perfect. She's Daniel Day Lewis (or whatever lofty actor level you wan to choose from) levels of perfect. She should be in every film ever made perfect. She's fucking perfect. The performances are excellent and it's deeply uncomfortable tense and emotional viewing. Highly recomended.
And yes it's grim as fuck and if it had been Irish and been this good I would have said so. (I hope)
Occasionally a film like this comes along and yours truly has a pop at it for being a little pointless. I've done it before regarding Irish cinema stating that we don't need films which portray the working class environment as being desperate and depressing. We in Ireland (or you in Ireland now that I'm in London dealing with your fucking germs, thanks christmas you massive snotty cunt) have at times in the last 15 years been told by many social studies that we have on of the highest standards of living on the planet and this has almost never been reflected in the film output during the same period. I've also said that it sticks in my craw that for the most part it seems that the film makers portraying the Irish working classes constantly seem to be middle class folks who seem to be almost speaking down to those they claim to speak for - or more acurately speak about - as many of the films seem to deal with thugs or drug addicts or whatever frankly cliche you choose to pick and the people making these films, in fact most of us have only ever met these types while being robbed or abused by them so how can you really ever expect any degree of verisimilitude in the work to begin with. Read Erasure by Perciville Everett for a good example of this (and yes that's where I picked up the word verisimilitude say it with me verisimilitude). Then a film like Tyrannosaur comes along, and okay it's not about Ireland it's set in Yorkshire but it does involve every cliche that's present in our cinemas portrayal of Irish society and from what I'm told Yorkshire is actually quite nice on the whole. So then, how do I pick this one apart? How can i call it out for being exploitative and pointless ? Well Washy you argumentative cunt ? See that poster up there that says it's class ? yeah are you going to say it's not class just to be a cunt ? are you ? how are you going to point some fingers here are you going to cop out say it's good so that everyone else on here can say "oh yeah typical if it were Irish you'd have said it was shit wouldn't you? you cunt.
Well i can't really argue with what everyone else seems to say. Virtually every single frame of Tyrannosaur is delivered with such a finely delivered stroke and attention to the details and nuances that it rings home as a truth. Not filtered or assumed truth but that Werner Herzog truth. All the cliches are here, sure, tough guys, battered wives, abusive husbands, semi-abandoned children, an Irish drunk and at it's core it's that old hooker (or in this case headcase) with a heart of gold tale. It's nothing we haven't seen before. So why does it work ?
Well Paddy Considine firstly seems to know the culture he's writing inside out and as such the script is taught and punchy enough to work. His direction is at times brutal but there is enough flashes of subtlety to avoid flying off the deep end into an over cooked pastiche. It's well paced, and most importantly it's story actually goes somewhere. It builds tension and constantly heads with a brutal velocity towards a climax as it unfolds had me more tense than any thriller I've seen in a long long time. In may ways it's reminisent of a western rather than an out and out grimfest. There's a hero (of sorts) a damsell in distress and some people who you really would rather see dead. This is a film that's not just content to explore the darker nature of it's character it's also quite clever. Though if the film was a lad down the pub and you called it clever it would probably shove a pool cue through your eye and take your crisps. Considine manages to write characters who are at times monsterous but ultimately deeply human and this makes the monster all the more frightening and the humanity all the more affecting. Peter Mullan is as usual utterly brilliant and horribly believable as Joseph the man/monster but this is Olivia Colmans film she's absolutely perfect as Hannah, that's pretty much as much as I can say she's perfect. She's Daniel Day Lewis (or whatever lofty actor level you wan to choose from) levels of perfect. She should be in every film ever made perfect. She's fucking perfect. The performances are excellent and it's deeply uncomfortable tense and emotional viewing. Highly recomended.
And yes it's grim as fuck and if it had been Irish and been this good I would have said so. (I hope)
hermie
Well-Known Member
Agreed. Considine has the making of a real good director.
And sorry to hear you're unwell, could've been that dirty finger up the bum at Wolfbait!
hermie
Well-Known Member
Last night
Beetlejuice
The Orphanage
Beetlejuice
The Orphanage
evil bandit
Well-Known Member
On a Nicholson vibe the past three days taking in these classics
hermie
Well-Known Member
I've been on a Hal Ashby buzz the last while. Haven't gotten round to this yet. Good?
David Kronenbourg
Well-Known Member
it's great. Nicholson, Quaid and Otis Young are all on cracking form. The script is filthy (for its time) and hilarious.
"I am the motherfucking shore patrol, motherfucker! I am the motherfucking shore patrol! Give this man a beer."
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