Seven Psychopaths. I was under the impression that this was really good. It wasn't that good. Walken is good in it. Some funny moments alright but I'm really sick of gun porn.
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What movie did you watch last night? (9 Viewers)
- Thread starter nlgbbbblth
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I'm two years late for the party here, but Tinker Tailor Soldier Spy was confusing as fuck. Maybe i'm thick. I'm particularly thick on a Sunday evening.
Also, finally watched Prometheus and found it to be unnecessarily boring. World War Z was good crack, even though they ain't proper Zombies. DIDN'T YOU PEOPLE EVEN READ THE BOOK?
I hadn't watched any films in ages, then I gorged on them. Dark Skies and Sinister were shite.
Are there any really good recent horror movies out there? ANYTHING?
Also, finally watched Prometheus and found it to be unnecessarily boring. World War Z was good crack, even though they ain't proper Zombies. DIDN'T YOU PEOPLE EVEN READ THE BOOK?
I hadn't watched any films in ages, then I gorged on them. Dark Skies and Sinister were shite.
Are there any really good recent horror movies out there? ANYTHING?
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Oh, and Red State.
Fucks sake Kevin, you perpetual teenager you.
Fucks sake Kevin, you perpetual teenager you.
No it's confusing allright.
They changed the plot quite a bit.
The mini series with Alec Guinness is on of the best things ever - I watch it at lease once a year.
We are the Millers
Intermittently funny, in a really stupid way. Not as shit as I expected it to be but no classic either.
Someday Jennifer Aniston is going to star in the great comedy she deserves
Intermittently funny, in a really stupid way. Not as shit as I expected it to be but no classic either.
Someday Jennifer Aniston is going to star in the great comedy she deserves
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If only she could find the vehicle to fully utilise that facial expression and hand gesture she does so well
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Something involving a haircut, perhaps.
You are all mean...she's lovely.
It's good but boy oh boy, 6 hours of nothing happening. The film was enough nothing happening at 2 hours long
Woody Allen. That's how good she could be.
Won't happen though and Woody is so hit and miss now that even if it did it would probably be shit. But still, she'd be perfect as the lead (i.e as Woody) in a good Woody film.
Cormcolash
Well-Known Member
I liked TiTSS myself, didn't find it particularly hard to follow.
Try The Cabin In The Woods, it's great, not sure if I would quite class it as horror though.
Also, The Conjuring was actually a pretty good horror film.
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That was the feeling I was left with too! And the feeling stayed for weeks 
I'm gonna watch it again in a couple of weeks.That was the feeling I was left with too! And the feeling stayed for weeks
Man..the music in it is far out......
weeeeeeeeerrrrrrnnnnnnDUNKberrrrrrrrrrrrrBaloobabooonerrrrrrrrrrrrrrrr
george mcfly
My Name Is Prince.
One of my favourite films of the year, if not one of the best horror films of the last 10 years
David Kronenbourg
Well-Known Member
This Is The End. I enjoyed it a lot.
There Will Be Blood.
The main lad in it can act.
The main lad in it can act.
Quick one today as I only got through 2 movies this week. I've seen most of Netflix now and am rewatching the Sopranos. Jesus it's good stuff. I really need to get downloading. Unfortunately Virgin media don't make at all easy anyway.
Felicias Journey
Atom Egoyan is one of the those odd directors. His films are distinctively his own, Somewhat inspired by the weirdness of David Lynch and Werner Herzog everything he does seems to exist as a dream. His films have an ethereal quality which when they work as in Exotica or The Sweet Hereafter leave you with a feeling that you've had some sort of other worldly experience if nothing else. Unfortunately most of his films leave you with little else. This is slightly better than his average middling fair but it still suffers from his unwillingness to engage with the ordinary as simply ordinary and as a result the whole thing feels a little uneven. Bob Hoskins plays Joe Hilditch - A lonely man with a secret (oooh spooky, It's pretty clear early on what's going on of course but I won't spoil it for you) Who befriends young Irish lady in a spot of bother named Felicia played by Elaine Cassidy. She's searching for her boyfrined who may have fucked off and joined the british army and since it's the middle of the troubles this is cause for concern so she's somewhere in the British midlands looking for him. Of course this is Egoyan so everything looks amazing and everything, every scene and every location is seemingly pregnant with a deeper meaning, a sense of foreboding and a general atmosphere of impending doom.
Unfortunately since everything is doom laden and ethereal the film doesn't manage to switch gears between the mundane and the extraordinary, which is something that this kind of story demands. Otherwise as happens here even the weirdest of goings on simply go on without really jolting you. In spite of the lack of this deliberate contrivance (for want of a better term) Felicias Journey still has it's moments. Hoskins is excellent as Hilditch and Cassidy is also great in a role which is unfortunately a little bit thin, and her niavity nearly sinks some aspects of the film as it becomes hard to abide. Thankfully the Irish accents are from Irish actors so they don't grate too much but the soundtrack is crammed with that bullshit Celtic Mysticism that really breaks the tension and made me groan out loud.
Felicia's Journey is based on a novel however as it enters it's final acts it turns inconvenientaly into a slightly stagey production and though the cast do a fine job the less cinematic moments are clearly not Egoyans strong point.
A decent film, slow moving and certainly won't be to many's taste. It's a pity because it could have been a classic.
Rush
Thus far Ron Howard's best film by a million miles has been Apollo 13. A film which managed by it's very nature - i.e 3 lads in a tiny room in a survival drama - managed to cut out most of Howards saccharine tendencies which have turned promising premises like Backdraft and Ransom into just plain silly romps.
Rush fairs little better in terms of Howard's bad habits but at least it's fun and that's the main thing that he has going for him and the film has going for it. Fun. Chris Hemsworth - a man who doesn't look like a real human, he actually looks like a cartoon character. He looks like he was drawn in a copy book by a pubescent girl fanatsising aimlessly about the male body - is actually pretty perfectly cast as stacked posho James Hunt. A man who basically lived like a car racing stereotype and James Bond. In fact he's always introduced here as "Hunt, James Hunt". His accent is silly and at first it's hard to take anything he says seriously but like I said this is fun, it's fluff. It's not Senna nor is it trying to be and although there are dark moments in the film really this is boys own stuff and Hemsworth as hunt is a perfect example of what is good and bad about the film. Slightly over the top never fully believable and yet in a way he suits what Howard is trying to achieve pretty perfectly.
Daniel Bruhl has the harder task because while Hemsworth is playing a mixture of Bond and Fassbender in Shame he has to make Niki Lauda, A human calculator seem more human and less calculator. Of course anyone who has seen Bruhl in Joyeaux Noelle or even Inglorious Bastards will know that he's a fine actor and manages to make every language he's asked to act in his own. No mean feat actually, as he presents the same even handed determination in both German and English which isn't easy as most of his emotional core arrives in German and is really only delivered to his wife and most of the human calculator is in English. The fact that both seem to be the same one man is testament to Bruhl's skill, though to be fair I couldn't help but feel his skill is slightly underused here.
Howard throws everything at the film and hopes that most of it sticks and to be fair most of it does. Thankfully a voiceover and flashback section are ditched early on and even though I found myself praying for more racing it does gradually arrive though not in the way I had hoped for it is thrilling noisy stuff.
Even here it's a bit light a bit fluffy and a bit too damn fun. Formula 1 is not just the balls to the wall action that you see here with mega-editing, stylised colour graded shots of car parts under pressure and eyes blinking inside the claustrophobic atmosphere of the helmet, it's also and endurance test, in which the human brain is asked to react with lightning speed for the better part of 2 hours and unfortunately there's no sense of this in Rush. There are no long sequences of break neck torture as man and machine struggle to keep up with the extreme pressure.
Again this is not the film for that kind of film that deals with that kind of dark subject. It is a summer blockbuster and as such most of it is kept light and somewhat fluffy. When it's darker turns do arrive Howard manages to keep from overplaying his schmaltz or making the film unbalanced by making it overly dark. It's a light touch and simply a slice of fun story telling.
If it has one This is the films major flaw. The kind of logic at play is that Race drivers are irresistable to women because they are close to death at all times. And is based on the old chestnut that "you are never as alive as when close to death", if that's so how come there aren't more parties in hospices ? The darker subtext is that the drivers and the women are obsessed not with life but with death and it could be supposed therefore driven not by a desperate need to live but by a disregard for their own worth. Both men here are drop outs, disowned by their wealthy families yet all of this is presented as myth and as part of the fun. For a film about death this doesn't have enough darkness in it. Even the horrific crashes are presented form a distance, the car reitrements and even the results of the races are presented through title cards and too much of the film takes place away from the track
On the other hand. Rush is what it is and as such it's a fine piece of popcorn movie making. It doesn't have nearly enough racing but on the other hand it manages (only just) to stay on the track towards the chequered flag of big summer hit and not slam into the tyre wall of saccharine idiocy or blow it's engine trying to be a warts and all under the skin character study. It's flimsy and fast just like the lifestyle it portrays. A good film then, not quite what I wanted from it but certainly not a disappointment.
There's still a great film to be made about F1 but with the shadow of the absolutely brilliant Senna cast over any such attempts it's probably sufficient to say that that film would have to be 100% fiction and probably directed by someone who is more than happy to make something very ugly and completely over the top.
All in all worth seeing on a big screen with a bucket of popcorn and a barrel of soda.
Felicias Journey
Atom Egoyan is one of the those odd directors. His films are distinctively his own, Somewhat inspired by the weirdness of David Lynch and Werner Herzog everything he does seems to exist as a dream. His films have an ethereal quality which when they work as in Exotica or The Sweet Hereafter leave you with a feeling that you've had some sort of other worldly experience if nothing else. Unfortunately most of his films leave you with little else. This is slightly better than his average middling fair but it still suffers from his unwillingness to engage with the ordinary as simply ordinary and as a result the whole thing feels a little uneven. Bob Hoskins plays Joe Hilditch - A lonely man with a secret (oooh spooky, It's pretty clear early on what's going on of course but I won't spoil it for you) Who befriends young Irish lady in a spot of bother named Felicia played by Elaine Cassidy. She's searching for her boyfrined who may have fucked off and joined the british army and since it's the middle of the troubles this is cause for concern so she's somewhere in the British midlands looking for him. Of course this is Egoyan so everything looks amazing and everything, every scene and every location is seemingly pregnant with a deeper meaning, a sense of foreboding and a general atmosphere of impending doom.
Unfortunately since everything is doom laden and ethereal the film doesn't manage to switch gears between the mundane and the extraordinary, which is something that this kind of story demands. Otherwise as happens here even the weirdest of goings on simply go on without really jolting you. In spite of the lack of this deliberate contrivance (for want of a better term) Felicias Journey still has it's moments. Hoskins is excellent as Hilditch and Cassidy is also great in a role which is unfortunately a little bit thin, and her niavity nearly sinks some aspects of the film as it becomes hard to abide. Thankfully the Irish accents are from Irish actors so they don't grate too much but the soundtrack is crammed with that bullshit Celtic Mysticism that really breaks the tension and made me groan out loud.
Felicia's Journey is based on a novel however as it enters it's final acts it turns inconvenientaly into a slightly stagey production and though the cast do a fine job the less cinematic moments are clearly not Egoyans strong point.
A decent film, slow moving and certainly won't be to many's taste. It's a pity because it could have been a classic.
Rush
Thus far Ron Howard's best film by a million miles has been Apollo 13. A film which managed by it's very nature - i.e 3 lads in a tiny room in a survival drama - managed to cut out most of Howards saccharine tendencies which have turned promising premises like Backdraft and Ransom into just plain silly romps.
Rush fairs little better in terms of Howard's bad habits but at least it's fun and that's the main thing that he has going for him and the film has going for it. Fun. Chris Hemsworth - a man who doesn't look like a real human, he actually looks like a cartoon character. He looks like he was drawn in a copy book by a pubescent girl fanatsising aimlessly about the male body - is actually pretty perfectly cast as stacked posho James Hunt. A man who basically lived like a car racing stereotype and James Bond. In fact he's always introduced here as "Hunt, James Hunt". His accent is silly and at first it's hard to take anything he says seriously but like I said this is fun, it's fluff. It's not Senna nor is it trying to be and although there are dark moments in the film really this is boys own stuff and Hemsworth as hunt is a perfect example of what is good and bad about the film. Slightly over the top never fully believable and yet in a way he suits what Howard is trying to achieve pretty perfectly.
Daniel Bruhl has the harder task because while Hemsworth is playing a mixture of Bond and Fassbender in Shame he has to make Niki Lauda, A human calculator seem more human and less calculator. Of course anyone who has seen Bruhl in Joyeaux Noelle or even Inglorious Bastards will know that he's a fine actor and manages to make every language he's asked to act in his own. No mean feat actually, as he presents the same even handed determination in both German and English which isn't easy as most of his emotional core arrives in German and is really only delivered to his wife and most of the human calculator is in English. The fact that both seem to be the same one man is testament to Bruhl's skill, though to be fair I couldn't help but feel his skill is slightly underused here.
Howard throws everything at the film and hopes that most of it sticks and to be fair most of it does. Thankfully a voiceover and flashback section are ditched early on and even though I found myself praying for more racing it does gradually arrive though not in the way I had hoped for it is thrilling noisy stuff.
Even here it's a bit light a bit fluffy and a bit too damn fun. Formula 1 is not just the balls to the wall action that you see here with mega-editing, stylised colour graded shots of car parts under pressure and eyes blinking inside the claustrophobic atmosphere of the helmet, it's also and endurance test, in which the human brain is asked to react with lightning speed for the better part of 2 hours and unfortunately there's no sense of this in Rush. There are no long sequences of break neck torture as man and machine struggle to keep up with the extreme pressure.
Again this is not the film for that kind of film that deals with that kind of dark subject. It is a summer blockbuster and as such most of it is kept light and somewhat fluffy. When it's darker turns do arrive Howard manages to keep from overplaying his schmaltz or making the film unbalanced by making it overly dark. It's a light touch and simply a slice of fun story telling.
If it has one This is the films major flaw. The kind of logic at play is that Race drivers are irresistable to women because they are close to death at all times. And is based on the old chestnut that "you are never as alive as when close to death", if that's so how come there aren't more parties in hospices ? The darker subtext is that the drivers and the women are obsessed not with life but with death and it could be supposed therefore driven not by a desperate need to live but by a disregard for their own worth. Both men here are drop outs, disowned by their wealthy families yet all of this is presented as myth and as part of the fun. For a film about death this doesn't have enough darkness in it. Even the horrific crashes are presented form a distance, the car reitrements and even the results of the races are presented through title cards and too much of the film takes place away from the track
On the other hand. Rush is what it is and as such it's a fine piece of popcorn movie making. It doesn't have nearly enough racing but on the other hand it manages (only just) to stay on the track towards the chequered flag of big summer hit and not slam into the tyre wall of saccharine idiocy or blow it's engine trying to be a warts and all under the skin character study. It's flimsy and fast just like the lifestyle it portrays. A good film then, not quite what I wanted from it but certainly not a disappointment.
There's still a great film to be made about F1 but with the shadow of the absolutely brilliant Senna cast over any such attempts it's probably sufficient to say that that film would have to be 100% fiction and probably directed by someone who is more than happy to make something very ugly and completely over the top.
All in all worth seeing on a big screen with a bucket of popcorn and a barrel of soda.
hermie
Well-Known Member
Finally got around to A Field in England. I liked it but certainly not as much as others here appear to have done. Reminded me a bit of Dead Man, another movie I find a little bit overrated. Pity coz I really expected to love it. Might come back to it another time and possibly watch it on my own away from scoffing housemates. Made me really want to go out in a field and take some mushies though, it's nearly the season right?
Was so hungover yesterday we skimmed through Taken 2. Possibly the worst movie I've ever seen. Poor auld Liam.
Also re-watched The Thin Blue Line coz a mate hadn't seen it. Really looking forward to this now:
http://www.imdb.com/title/tt2390962/?ref_=fn_al_tt_1
Was so hungover yesterday we skimmed through Taken 2. Possibly the worst movie I've ever seen. Poor auld Liam.
Also re-watched The Thin Blue Line coz a mate hadn't seen it. Really looking forward to this now:
http://www.imdb.com/title/tt2390962/?ref_=fn_al_tt_1
David Kronenbourg
Well-Known Member
No Country For Old Men. One of the best movies of the last decade and one of the best of the Coen brothers career. Fargo still takes that honour though, closely followed by this and Miller's Crossing with an honourable mention for A Serious Man.
The Fog - 1980 version. Creepy as fuck. Man, Carpenter knows how to create suspense. Quality stuff.
The Fog - 1980 version. Creepy as fuck. Man, Carpenter knows how to create suspense. Quality stuff.
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