Old 09-22-2012, 04:41 PM
The Sessions - 6/10

Struggle with telling a true life story of a man unable to move his body, you either vacillate between Lifetime sickness schmaltz or sardonic humor. A little bit of balance reveals Ben Lewin's The Sessions. Mark O'Brien is an artist like Christy Brown, whereas Brown had the ability to use his left foot, O'Brien is a poet forever trapped in his mind to ever enchant a real woman into loving him. In O'Brien, we have John Hawkes, superlative character actor, now somebody who can be called superlative actor. Period. He carries this film, which teeters on sentimentality, but never crosses over, yet feels as immobile as its lead. Tertiary characters are sketches; William H. Macy has a few good lines, but the biggest chuckle comes from seeing his priest carrying a pack of beer. Helen Hunt...eh, never got the reason why she beat four better actresses in '97, but she faded from film for a long time and should've stayed so. I've never found the appeal of her as an actress. The "bravery" of the part if just another double standard; women bare their bodies but men don't do likewise.

End of Watch - 7/10

Character before action, which makes the film seem redundant and episodic at times but involving due to serious bromance chemistry between the leads. Big fuckin' Evil and his fuckin' posse are fuckin' awful, fuckin' poppin' up when fuckin' necessary and fuckin' not fuckin' doing much fuckin' else other than fuckin' passing off as fuckin' intimidating. Blah blah blah. There's also one ending, and then another addendum. Flaws and all, I had a good fuckin' time. Ayer is a street poet who masquerades as a peddler of trenchant cop/gang scenarios by way of Ellroy.

Trouble With the Curve - 5/10

A film from a first time director, featuring Eastwood coming back to act again after his post Gran Torino retirement (most likely as a favor) leads to some poor shots, sluggish pacing, and, post-RNC, ripe parody of Eastwood, unintentional or not. The movie was so dull in the first half I couldn't remember if he sang "You Are My Sunshine" to his penis or I'm conflating two different scenes. Amy Adams scores in a nicely subtle role as his daughter; compare and contrast her work in The Master this year and it's night and day.

Dredd - 7/10

Truth be told, never saw the Stallone version, and I'll keep it that way. Plot-wise, there's nothing that really separates it from The Raid, but where the violence in that film was exhausting and tedious, this doesn't go too far into awesomeness only to get boring and become awesome again. I don't know why I like it so much, or at least give it a pass. Maybe my inner Ignatiy is coming out, the need to find qualities in our less acclaimed, but no less accomplished genre outings.

Last edited by Lazy Boy; 09-22-2012 at 04:49 PM..
Old 09-22-2012, 04:51 PM
Originally Posted by Lazy Boy View Post
William H. Macy has a few good lines, but the biggest chuckle comes from seeing his priest carrying a pack of beer.
That bit made the audience I saw it with go nuts. The beer + bandana + priest combo was too funny.
Old 09-22-2012, 05:25 PM
Klown 9/10

Totally hilarious comedy from Denmark.

Here's a drinking game...
Everytime you read the subtitles and "tour de pussy" appears start drinking.
Old 09-22-2012, 08:20 PM

I really liked this movie. Gyllenhall and Pena had fantastic chemistry. It was nice to see a movie that didn't involve corrupt cops in LA for a change.
Old 09-22-2012, 08:33 PM
The Five Year Engagement - This was a pretty good romcom although they may have stretched it out a little bit. The two leads were very good as was Alison Brie as Emily Blunt's sister. Some of the other characters were a little too outrageous but it was a good story and the ending was very nice. 7/10

Heavenly Creatures - Quite a debut for Kate Winslet. The obsessive relationship between the two girls was really well written and acted and the climax of the film was pretty brutal. 8/10
Old 09-22-2012, 08:50 PM
A few days ago:



this is a good horror movie. it's smarter than most movies with a lot of gore. the scene with the family at the beginning was one of the most brutal scenes I have ever seen
Old 09-22-2012, 11:35 PM
U-571 (2000)

Well this caused a hullabaloo upon release, such a big hullabaloo that it even involved our British Prime Minister, some MP's and eventually President Clinton!. I do recall at the time that Britain was not too pleased about the historical rigging so Clinton had to smooth things over hehe was quite the headline.

Anyway if you can see past the huge numerous historical inaccuracies this wartime submarine thriller is pure adventure and action in a real boys own way. I don't mean to take anything away from the real memory of the maritime war effort but this really is a rollicking good fun film that will grab you and not let go.

A gripping plot surrounding the need to capture the Enigma cipher machine of the German U-boat U571. The crew of the US S-33 are sent in disguised as a German U-boat to infiltrate U571 and capture the machine without anyone ever knowing they were there. Of course things don't go to plan and this is where the thrills begin as the US crew fight to remain undetected and escape with their valuable cargo.

At first the film isn't overly impressive visually, seems to cozy, but as the story progresses things seem to get better, probably due to the moisture, sweat, heat and dirt buildup on crew and set. External visuals are lovely as we get many excellent pan shots of a real sub ocean bound with people onboard (not sure whether they are the actual actors).
Like other sub flicks ('Crimson Tide') most of the film takes place inside the German U-boat. Not as stunning or large as interior shots in said Scott flick but naturally size/tech varies between subs of then and now. What you do get is a very tight cramped experience which really offers an insight into how these boys lived in these tin cans. Realism is assured and is enough to give anyone a fear of confined spaces, the constant dripping from pipes and seals would do it for me.

Cast is quite a unique mixed bag here too. 80's action men Paxton and Keith are reunited after 'The Lords of Discipline', Keith looking the slick Bond type in his turtle neck and leather coat, a bit cliched maybe.
Other main leads went to hard man Keitel alongside wannabe action hero/romcom regular McConaughey. British actor Weber struggled to maintain his US accent which unintentionally gave me some chuckles. Of course one noteworthy element was the inclusion of Jon Bon Jovi in the cast, I think his first major role in a proper major flick. At the time most did ask why they couldn't have found a real actor for the role, his presence certainly made you wonder about the films credibility before release, a rock star in a legitimate war film?.

So with a mixed bag of various actors from various genres the film still managed to be one of the best war thrillers I've seen in a long while. Like I said the sub interior sequences are perfect and capture the hellish mood whilst the few special effects are nicely done and not over the top. Musical score doesn't quite hit the emotions as well as other war films, not overly memorable.

Despite the Americanisation of the truth this film still wins and delivers a ripping yarn alongside a good dedication to the real men of the time. Love the films poster also.
Old 09-23-2012, 03:15 AM
Sling Blade (9/10)
Old 09-23-2012, 05:54 AM
The Hobbit ('66) - 8/10
Old 09-23-2012, 09:37 AM
Captain America: The First Avenger-8.5/10
Old 09-23-2012, 11:31 AM
Red Lights - 8/10
Old 09-23-2012, 05:49 PM

Old 09-23-2012, 05:58 PM
THE JERK - 8/10

Love this flick. Still funny. Such great one-liners.
Old 09-23-2012, 06:21 PM
Captivity - A pretty dull and predictable horror film. I could see the twists coming and the lead actor wasn't very good. Only Elisha Cuthbert seemed to have any acting ability at all. 3/10

The Object of My Affection - This romcom doesn't offer anything new but at least Paul Rudd had his moments. Jennifer Aniston wasn't exactly terrible either. 5/10
Old 09-23-2012, 10:40 PM
Hellraiser: Revelations (2011)

Ah the infamous 'new' Hellraiser sequel that was made purely to retain a license, if it were up to me I would of made it a proper ninth sequel.

Lets cut straight to the point here, believe it or not but I liked this entry. Yes its true, I really don't see what the issue is here, bottom line this sequel is no worse than some of the other many Hellraiser sequels.

The plot is pretty neat really, a bit disjoined but it had me thinking and interested at all times. I only really worked out fully what they were trying to achieve towards the finale, as we get more explanatory flashbacks.

Basically the story tells the tale of two young men who vanish after a bender in Mexico. We are then fed small bits of info as to what happened to them via flashbacks which are interspersed in the story. Its not been edited terribly well but it just about does the job. In fact the plot runs along the same lines as the original, you could almost say this film is a forerunner/pilot to Dimension's planned remake!.

As we all know Hellraiser is also centred around gruesome special effects, that's one of the best bits people!. Again to be fair the creators of this film have done a solid job, yes there is nothing new to the franchise, it all looks the same as the previous films, yes you can say you've seen it all before. But the gory bloody skinned bodies, 'Pinhead's' makeup, hooks pulling skin, a second 'Pinhead' type cenobite and what looks like the 'Chatterer' cenobite all look really quite decent in my opinion. At no point did any of it look third rate or bad B-movie trash, the makeup, prosthetics and set work for all cenobite sequences are just fine, equal to previous work.

God knows who the cast are but they do a reasonable effort, a bit rough around the edges but again I stress...I've seen worse. What does spring to mind is what Dimension are planning to do for the future. If they are going to remake 'Hellraiser' then a good plan is required as we now know from this film that someone else as 'Pinhead' doesn't work too well. Collins does the job fine but his mannerisms, movements and of course his face just aren't the same. It shows how good Bradley is both acting the role and visually, much like the 'Freddy' remake without Englund.

So naturally don't expect the world with this (I doubt anyone would), but don't be negative, try to ignore what everyone else says/writes. I was pleasantly surprised, especially with the horror effects, but do we need a remake now?. Seeing the original plot played out again here without Bradley I would say no unless there are some major new imaginative ideas pumped into it. But then would it be Hellraiser? last thing I wanna see is a CGI filled 3D remake.
Old 09-24-2012, 03:40 AM
My Left Foot (8/10)
Old 09-24-2012, 07:00 AM
A Dangerous Method - 8/10
Old 09-24-2012, 11:35 AM
Drive - I watched this on Netflix thanks to a recommendation. I truly believe this to be one of the best movies I've seen in the last five years, right up there with Gone Baby Gone. While Ryan Gosling's character is a stunt driver, and the movie's title is "Drive," I feel that Drive in this film is defined not as driving a vehicle, but instead as motivation, determination, and ambition. Ryan Gosling was fantastic as the "Driver." His character is the ultimate example of good intentions gone horribly awry. The film was delightfully brutal. Two thumbs up!

Old 09-24-2012, 12:12 PM
Spider-Man 2 - 8.5/10
Half Nelson - 8/10
Old 09-24-2012, 12:40 PM
Guns , Girls and Gambling (2011)

I laughed on occasion. Out of the 1000s of bad pun in this movie about John Smith being chased by cowboys , indians and elvis impersonators to retrieve a stolen apache mask in a casino , there's a couple of good one. This is as dumb as a movie can get. 5/10

The Samaritain (2012)

Ex-con gets pulled back in to do one last job while stealing a major plot point of

Too bad because i thought Samuel L . Jackson was great in it and the movie does have a great noir atmosphere even if the main storyline has been done to death.

4/10 .... could have been a 7 if i hadn't seen the movie i'm referencing.
Old 09-24-2012, 03:22 PM

Old 09-24-2012, 06:08 PM
The Collector (2009)

An ex-con working a menial job as a «Mr. Fix-it» for a rich family is forced to steal from the house of his employers who are supposed to be away to repay his ex-girlfriend debt to a loan shark. Unknown to him , someone else is already in the house , laying booby-traps everywhere while torturing the helpless family.

Never heard of this movie before but it seemed to have quite a good cult following so i decided to give it a watch. Beside the 1st Saw movie , torture porn horror is quite a garbage genre. Full on shocks but really poor on suspense and scary moments. I'm quite happy to say that The Collector stands out in the tired genre.

First , we get introduced to our main protagonist Arkin (Josh Steward). The guy is a loser but you feel for him. Clearly the guy tries his best to make up for his past mistakes. Deep down he is a good guy forced to act badly and this empathy i had toward him what was glued me to the movie.

Second , the story is more focused on the cat-and-mouse game between Arkin and The Collector. This fact alone drove the suspense factor higher than any similar movies. The house is big and the traps are really really nasty. As Arkin explores the house and wonders what the hell did he step into , he has to keep quiet and moves around while not arising suspicion about his presence. A creeky staircase wasn't that effective in a while.

Torture Porn being Tortune Porn , we do need some shock value and The Collector delivers. While the traps are not as elaborated and over-the-top as Saw ( The Collector's director Mark Dunstan did wrote SAW 4-5-6-7 afterall) , they are more cringe worthy …. i am fucking checking any landline phones i am using from now on! And that's good because you get to see many many traps in the house in all their gory details but only a handful do get triggered which keeps the suspense alive and makes the scary parts work when they do.

With that said , they are a couple of plotholes/unexplained events ….. especially why the complex setting of the house and the open-ended ending.

The good news is that the sequel «The Collection» is coming out next month. FUCK YEAH!

9.5/10 .... never thought i would say this but The Collector is one of THE best movie in the genre.

PS. Madeline Zima's boobs are awesome .... "fuck and punch" just like in Californication lol

Last edited by Dirtyfrog; 09-24-2012 at 06:13 PM..
Old 09-24-2012, 07:21 PM
Gun-Shy 6/10
Old 09-24-2012, 08:06 PM
Two-Faced Woman with Greta Garbo and Melvyn Douglas - Garbo plays a woman who pretends to have a twin sister and tries to prove her husband is cheating on him. It's pretty dull and not exactly a fitting end for Garbo's career. The two leads were at least charismatic but the plot was too ridiculous for this to be anything more than melodramatic schlock. 4/10

The Hole - Thora Birch did a fine job in this thriller. Finding out what happened to Birch and her friends in the days they were missing was fun. I liked how the first version of the story was pretty harmless and the film progressively gets darker until the end when we find out what Birch is capable of. 8/10
Old 09-24-2012, 10:21 PM

World’s Greatest Dad (2009)

With 2010’s God Bless America, director Bobcat Goldthwait was trying to convey a message on the stupidity of reality television, public annoyances, and political extremists. Frankly, that type of target is too easy to take down, in cinematic form and the film runs out of steam almost halfway through. But, there’s that dark edge of comedy that resides in Goldthwait’s repertoire as a director and screenwriter. When handled right, there can be a film that can handle some pretty heavy, dark themes, yet hilarious at the same time. This is what Goldthwait knocks out of the park in his 2009 film, anchored by an outstanding performance in Robin Williams.

The central message that Goldthwait wants to simply convey in his own twisted sense is the idea of leaving some sort of legacy when we’re gone, a chance to hit certain peoples’ lives. That’s Robin William’s mission as High School English teacher Lance, a need to create a short story that gets published in a renowned magazine. Ignored by his deadbeat son Kyle (Daryl Sabara) and feeling that he’s losing his fellow co-worker and girlfriend Claire (Alexie Gilmore), Lance just wants to make his mark on the world.

Lance’s answer comes through a sudden tragedy in his life, and it’s where Goldthwait and Williams are ready and willing to jump down the rabbit hole, without any hesitation of digging the despairing hole that Lance begins to get himself into. But, at the same time, the story never feels like a one trick pony. The themes play out in an orderly and very surprising fashion, playing off ideas of High School popularity and “Jumping on the bandwagon”. It all culminates in a perfectly great climax, and it would all be for naught without Robin Williams.

This is Williams that handles the dramatic and comedic all in one fell swoop. He plays the overwhelmed and jealous Lance to such a tee, never jumping into his overzealous comedy shtick that he’s mostly known for. In one scene he nails the emotional breakdown that Lance is going through, while the other he’s barely repressing laughter to a hilarious degree. The other dark horse is Sabara’s Kyle, who is the ultimate deadbeat son, playing annoyance and disgust to such a great extreme.

World’s Greatest Dad is a film that knows it’s straddling a line with taste and tasteless, but Bobcat Goldthwait doesn’t care. This is his own brand of comedy that he wants to make and it’s truly something out of the ordinary, but never going to the simple depths that God Bless America was guilty of.


Bellflower (2011)

Evan Glodell’s Bellflower seems to have a “Gran Torino”-type effect when the film is all said and done. What is the “Gran Torino Effect”, you ask? Well, that saying is in regards to a film that is pretty damn awful for a good part of the first half of the film, then surprisingly becomes poignant and effective in the second half. This is the problem that Bellflower has for the most part; with characters and a story that don’t become dynamic and interesting until an off-the-wall second half sort of redeems the former first half’s faults.

Writer and director of the film, Glodell wants to create a cool film of two friends who create weapons and a post apocalyptic car based off the film Mad Max, all the while one of the friends, Woodrow (Glodell himself) falls in love and begins to have shaky relationship with the spunky Milly ( Jessie Wiseman). It’s sort of 500 Days of Summer by way of dudes who like to party all night, as well as love Mad Max. This all blends into a film that is pretty amateur for most of the film’s run time, with actors who feel uncomfortable for most the film’s proceedings, until their final scenes sort of awaken something in their performances, as if they understood the thematic essence of how nutty and somewhat emotional the film could be.

That nuttiness and off-the-wall comes through most of the film’s second half, and it finally feels like there’s something special that this film ants to bring to the table. There is that sense that it’s building to a resounding crescendo in the final moments of the film, but then the rug sort of gets pulled out from that potential, culminating in a ending that doesn’t feel as clever as it should be. Honestly, casual filmgoers will probably know what type of road Bellflower is going to take at the end, but it all depends if they respect or despise that decision.

The actors are all pretty drab in the first act, with no distinction other than they like to party, and some semblance of chemistry between Glodell and Wiseman. As I’ve said before, everybody starts caring by the second act, so it really depends if you’re still going to hang in the film or check out halfway through. The most surprising character in this film, at least for me, is Tyler Dawson’s Alden. At first, he’s your typical nutty best friend, and then slowly adds some layers to make some semblance of an enjoyable character.

Bellflower is something to appreciate for bringing a post apocalyptic aura in romance. It feels arbitrary in the first half of the film, but slowly makes more sense as the film goes on. But ultimately the film doesn’t sustain much of anything to be a truly memorable cinematic experience.

Old 09-25-2012, 01:15 AM

A film about redneck moonshine bootleggers, well yeehaw!. Apparently this is an adaptation of a book which recounts true events from 1931 in the USA. The story is actually based on the author's real family from around this era, he seems to be proud of his relations criminal activities then. Well its based on fact so it makes the film more interesting.

Visually this film looks the business, its gritty, violent and thoroughly well made from top to bottom. I love how everybody looks in their costumes, this period in US history was a smart time and on film it always looks good.

The main issue with this film is thus, clearly its aiming for epic Oscar status, that's fine but its not good enough. The reason being, in my opinion, the creators can't decide what they want this film to be. Do they want an epic grand scale tour de force a' la 'The Godfather' or do they want a graphic novel style kick ass flick a' la 'Last Man Standing' or 'The Untouchables'?.

The film starts brilliantly, with a good dust up from Hardy showing his position within the film and then the coup de grace. Oldman strolls out into the middle of a dusty dirt street and proceeds to tommy gun an oncoming old Ford jalopy to pieces. This one sequence is over quickly but its overly awesome and really gets you in the mood for an ass kicking period flick.

After this great kick off the film tends to lull for much of the run time with sparse bits of violence. The whole thing is lost in limbo between wanting epic Oscar status or violent kick ass graphic novel type status. The issue being the film achieves neither but hangs somewhere inbetween like a lost tourist.

The other shame is the fact the two best characters and actors aren't involved enough. Oldman is hyper as usual and just needs more screen time here, its as simple as that (although his character does remind me of Chris Walken's character of 'Hickey' in 'Last Man Standing') .

Whilst the best character by far is Pearce as the slimy nasty dastardly 'Rakes'. A kind of polar opposite to Elliot Ness, Ness was a crusading good cop while 'Rakes' is a crusading bad cop. He's only doing his job and upholding the law but in a really bent way hehe.

Both these guys needed more screen time as they both rocked ass and looked damn good doing it. Alas we're stuck with lots of the dreadful Labeouf (how does this guy get work!!?) and the very much overrated Hardy who yet again mumbles his way through this film also. This guy really isn't much of an actor, sorry to all you Nolan fanboys out there, tis the reality.

Despite the two guys I've mentioned most of the characters aren't exactly original, there is nothing new on offer here from this era, standard fair. The violence is harsh thundering and cool but admittedly cliched for this type of film, the thing is that's the best thing about the film.
Without much of the violence this would be a poor epic wannabe, with the violence its good fun but not as good as 'Last Man Standing' or 'Untouchables'.

To be frank the plot is highly basic and doesn't really deserve a film made about it. That said I can't deny that it looks lush and the brutal glorification of prohibition-era Virginia violence is too good to miss.

Hands up who wants to see Oldman smash some hood across the head with a big metal shovel in a fit of rage?, yeah that's what I thought, of course you do.
Old 09-25-2012, 09:31 AM
Originally Posted by Hubbs View Post

Alas we're stuck with lots of the dreadful Labeouf (how does this guy get work!!?) and the very much overrated Hardy who yet again mumbles his way through this film also. This guy really isn't much of an actor, sorry to all you Nolan fanboys out there, tis the reality.
Please tell me you haven't seen Bronson. If not I can't totally say I recommend, but that's the film that has led to his deserved run of role-getting recently.

The Buddhist Fist (Woo-ping Yuen, 1980)

Great/hilarious fight choreography with one of the creepiest villains I've ever seen in a movie, but other than that nothing special.

Fist of Legend (Gordon Chan, 1994)

I can see definitely see why this is held in high regard as Jet Li does a terrific job as the pissed off student who has to fight pretty much everyone for the sake of justice, including a truly epic final-boss battle. However it did leave me wanting to re-watch the Bruce Lee movie it's based on, not that that's a bad thing.

Eurotrip (Jeff Schaffer, 2004)

Very run-of-the-mill teen comedy, featuring an extremely 'wtf' Hitler joke. Can't say I wasn't laughing throughout though.

The 36th Chamber of Shaolin (Chia-Liang Liu, 1978)

Martial arts flick about a young man who goes through the '35 Chambers' of Shaolin Monk training, a great middle section within a decent film.
Old 09-25-2012, 09:56 AM

The Ides of March
Old 09-25-2012, 12:36 PM

The essence and familiarity of control; there’s always an inherent need to know where our lives are going, and where they have always been. Men and women always have a path situated for their lives, and they are determine to follow that path until it leads to happiness or accomplished. But, there are always those “lost souls”, men and women who don’t have a certain path to follow on their own. They are the “sheep”, and in most cases need a “shepherd” to bring them into the clearing. But, what if that same “shepherd” seems to have a grand idea of where the path lies, but the lone “sheep” is at crossroads on what can be believed to be true, or possibly false. This is director Paul Thomas Anderson’s question in his latest film The Master, a character study of a lost, wandering World War Two veteran (Joaquin Phoenix) who comes under a wing of a boisterous intellectual (Philip Seymour Hoffman) that seems to have a discover a new belief known simply as “The Cause”.

After the Kubrickian-like masterpiece of There Will Be Blood, Thomas decides to take that grand epic of his previous films into more contained quarters. The sweeping camerawork and soundtrack is still used in spectacular effect, but Thomas utilizes his tricks to focus on two different, yet somewhat similar individuals. One is Phoenix’s Freddie Quell, an alcoholic, broken man trying to find his place after the war. Much like Daniel Day Lewis’s Oscar-winning turn in Blood, Phoenix certainly takes a cue from Lewis, creating a character all of his own. The actor is recognizable, but the character that he develops is a different breed entirely. Prone to violence and a lack of manners, Quell is an outsider and degenerate in the most pure sense. But, Anderson takes the time to show why this man has developed cracks in his shell, with one spectacular sequence opposite Seymour’s calm and persuasive Lancaster Dodd. It’s there that the viewer sees Quell at his weakest, and Anderson seems to make a statement that despite Quell’s ferocity and immaturity, he’s simply a man looking for a connection.

Lancaster Dodd is that “connection”, and Hoffman’s Dodd is one of those thinkers that believe what he says, as well as getting others to believe as well. He is methodical, nurturing, and believed to be something of a “higher-than-thou” leader. But, as everyone is, Dodd is human. He can’t sustain criticism from others that disprove his own beliefs, and resort to Quell-like outbursts when backed into corner concerning his philosophies. It’s there that the relationship between Quell and Dodd blooms, despite coming from opposite paths. Quell needs Dodd as there’s a place for him in the world, and Dodd uses Quell as his pet, a man that he believes could be the source towards showing his philosophic teachings and therapies could truly work.

The remaining cast plays to more of a background effect to Phoenix’s and Hoffman’s proceedings, but certainly make their mark when needed, Amy Adams in particular. Adams plays Dodd’s wife Peggy, sort of the “Lady Macbeth” in the relationship. Peggy wants to ensure that Dodd is kept on the clear, simple path that he’s been striving for, not jumping toward the beaten path that Quell seems to slowly envelope onto Dodd. She breathes contempt and control when she can onto Lancaster, and Adams nails every scene where she is given that chance.

The Master certainly has the look, sound and feel that 2007’s Blood oozed, but Anderson doesn’t want to replicate that. He’s more interested in going less straight forward that he did with Blood, and sort of brings a dreamlike quality that helps, but somewhat hinders the film as the story draws to the close. Not to say that it is a glaring flaw, but if there’s any faults that come within Anderson’s script, which is surprisingly a take (but surprisingly never a lambasting) on the belief of Scientology, it is the rushed conflict that begins to bubble in the middle act. But, with such good acting within these faults, that’s a very small complaint on this reviewer’s part. He still has that Kubrickian eye behind the camera that is a joy to behold, always in control and methodical in a given scene.

If you’re a fan of Paul Thomas Anderson’s previous work, then deciding on whether or not you should see The Master is simply no question. It’s a tremendous film that involves the viewer with high caliber acting, impeccable direction, another wonderful soundtrack by Jonny Greenwood, and a deep, thoughtful story that only slips in certain aspects, but for the most part is always in control.

Control is a funny thing, but Anderson’s film presents a thoughtful idea on how that very idea of control can shape the paths and destinies of the intellect on the set path, as well the vagrants on the beaten.

Old 09-25-2012, 12:40 PM
Dredd 3D - 8/10
The Cabin In The Woods - 8/10
Old 09-25-2012, 01:45 PM
The Host

Old 09-25-2012, 05:21 PM

Holy Motors - 9/10

I saw this at it's London premier a week ago to the day and still haven't been able to muster up my exact thoughts.

It's marvellous to watch and it's grown on me even more since.

Full thoughts to follow shortly.
Old 09-25-2012, 05:28 PM

The Master(2012)-8/10
Old 09-25-2012, 07:24 PM
Casa de mi Padre

An experimental comedy that does for Mexican melodrama what Black Dynamite did (more successfully, I think) for Blaxploitation. Padre fills a niche so small that I can’t imagine it being anything more than an interesting rental for most casual moviegoers who love Will Ferrell and erroneously expect Ron Burgundy on a Mexican ranch. Which it is, in a way, but ultimately those same moviegoers are likely to be asking themselves “What the fuck?” by the end. I found it funny, though. Not hilarious, but Ferrell going full Hispanic and utterly nailing the tongue-in-cheek sincerity of cheesy Mexican B-movie sentimentality and affected stoicism won me over. The summary at Rotten Tomatoes will probably prove to be the most accurate description, that it should’ve been relegated to a fake trailer or short film on Funny Or Die, but it had enough big laughs sprinkled throughout its amusing landscape of intentionally bad special effects and continuity errors to make it worth a watch. Maybe not a rewatch, but definitely one.

-> 6/10
Old 09-25-2012, 08:18 PM
Nobody Lives Forever with John Garfield - A pretty standard crime film in which Garfield plays a con who seduces a woman in order to fleece her out of her money but falls in love with her instead. Walter Brennan was pretty good in a supporting role too. 5/10

The Painted Veil (2006) - I really liked the relationship between Ed Norton and Naomi Watts. Their final scene together was heartbreaking as well. 8/10
Old 09-25-2012, 10:52 PM
Red Lights

Old 09-26-2012, 01:28 AM
The Master


End of Watch

Old 09-26-2012, 04:19 AM
Looper (9/10)
Fucks with your head if you think about it too much, but luckily the film addresses that and knows where its strengths lie and it is all the better because of that. A cool, orginal, bad-ass sci-fi which is bound to be a cult classic.

Beginners (8/10)

Last edited by Hucksta G; 09-26-2012 at 05:51 AM..
Old 09-26-2012, 06:14 AM

Started watching with low expectations due to the bad reviews and was shocked at how entertaining and thrilling this film was.
Clever tale of a duo Margaret Matheson (Sigourney Weaver)and Tom Buckley (Cillian Murphy)who debunk psychics and paranormal claims.
Until the duo face off with the famous psychic Simon Silver (Robert De Niro) who may be the real deal.
De Niro has some dark and mysterious moments but mainly collects an easy paycheck,so most of the film
falls on the capable shoulders of Murphy.
Not perfect but a fun romp

Scale of 1-10 a 7½
Old 09-26-2012, 12:33 PM
Ong-bak (Prachya Pinkaew, 2005)

Really liked this one. There's nothing particularly special about it other than it showcases the martial art of Muay Thai, but star Tony Jaa makes the form look incredible, I was marvelling at plenty of the moves on display here more than I usually do when watching these films. Pinkaew uses the old instant replay technique to good effect and the chase scenes are well done too.
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