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  #3321  
Old 02-14-2012, 12:15 PM
Quote:
Originally Posted by Tyler_Durden_208 View Post

Matango (1963)
10/10
Probably Ishiro Honda's best film after Gojira and one of my favorite horror films of all time.
Welcome to the club Tyler. Saw this back in 07 I think, fucking loved the shit out of it. Yes, its campy, but so were the majority of japanese tokusatsu films at the time. I simply loved the shit out of the atmosphere of it. Japanese really knew how to create the creepy factor with those films. I love the aesthetic and all. Agreed on Honda's best film after Gojira
  #3322  
Old 02-14-2012, 06:06 PM
Precious 7/10

A good movie on the whole some really great performances Mariah Carey stripped back with no no make up was good to see she was surprisingly effective as the social worker. I'm not sure why but a lot of the movies I've watched of late have been real depressing flicks. Having watched Biutiful not long ago I kinda see this as female version of that with It's bleak outlook & lonesome main character of course Biutiful Is very different using plenty of symbolism also references to Dancer In the dark. The second half of the movie was a tad disappointing can I dare say predictable I'll probably never watch It again but certainly recomended.

Drive 8/10

Not what I was expecting at all really even after seeing all the rave reviews I thought It would be more action packed more intense. Don't get me wrong It did intensify towards the end of the movie but took a while to get there. I'd like to say It was more of a character development movie but It wasn't really sort of a mixture Of Die Hard & Once upon a time In America, the soundtrack was befitting & the cinematography was extraordinary. I wouldn't call It my favorite movie of the year Or even my favorite Gosling movie of the year, It Is a must watch however.
  #3323  
Old 02-14-2012, 07:01 PM
Recently...

THEY LIVE - '80s cheese, political/corporate allegory, and alien invasion? My kind of flick. John Carpenter doesn't get too serious with his statement on modern consumerist society, so it allows the average moviegoer to appreciate what he's saying without losing the fun.

DINOSAURUS! - Best served with wine and cheese. One of those great LOL-so-bad-it's-good films from the 50s. Extra points for the shitty, over blaring dinosaur sound effects. Also, WTF is up with the title?

RISE OF THE PLANET OF THE APES - Pretty good summer popcorn movie. I think it got a little too much love because people were expecting a train wreck. The script is still pretty flawed, with some garbage dialogue. I was most invested once Caesar is interacting with his fellow apes. Tom Felton was also terrible. He should write the book titled "How to be ridiculously over-the-top with your lines". Of course, the obligatory "holy shit the CGI and motion capture were amazing" comment needs to be thrown in because...it really was.

BEGINNERS - Underwhelmed by Christopher Plummer's performance, but such is the case with raised "Award expectations". The film, itself, was most excellent. I fell in love with Mélanie Laurent in every way possible. Loved that you could feel the personality of writer/director Mike Mills throughout.

TINKER, TAILOR, SOLDIER, SPY - One of my most anticipated of the year, that went from disappointing to meeting expectations. One that requires a second viewing to really soak it all in. The lack of "tension" throughout, initially, was the culprit. However, the film's final 30 minutes was extremely satisfying, and allowed the film to come full circle. By the end, I realized I was watching a slow burner that asks for your patience, but rewards you in the end. The acting, all around, is a film geek's dream. It was almost fun, in a British Ocean's 11 kind of way, watching all of these heavy weights do their thing.

THE DESCENDANTS - Classic case of strong acting wrapped in a story I just couldn't get fully invested in. I'm a big fan of Payne's work, but this was his weakest effort in my opinion. It's funny, a lot of what I've read celebrates the fact it's his least cynical work, and maybe THAT'S why I wasn't the biggest fan. The film has its moments of hitting great emotional beats, though. George Clooney and Shailene Woodley are outstanding as well, and (at this point) are my picks for Best Actor and Supporting Actress. Other then that, though, the film just seemed "middle of the road" for me.

ATTACK THE BLOCK - Great fun and is about to become my most quoted film from 2011. Not on par with Wright's work with SHAUN OF THE DEAD and HOT FUZZ, but still a great "genre comedy".

THE ARTIST - Believe the hype. Albeit, it's not the greatest thing since sliced bread, but definitely worthy of its accolades. Yeah, you can argue that the silent thing is a gimmick, but it does what many great silent films of the era did: use "minimal" plot to convey a series of emotions and moods successfully. I don't buy the whole "people are only in love with it BECAUSE it's silent and they're being tricked by the gimmick" argument because you might as well say that about films like "The General" and "City Lights". Yeah, they're silent...but what it does without the words has just as much of an impact as any great "talkie" from 2011, etc. It's a gimmick now because we've had talking pictures for many decades...but the question this film raises is: Does every modern motion picture NEED to be a "talkie" to have an impact on a modern audience? One of 2011's best.
  #3324  
Old 02-14-2012, 09:04 PM
The Girl Who Kicked The Hornet’s Nest



Lacks the moral passion and visceral thrills of the first two parts, which is a surpise, considering I enjoyed the first and third books more than the second. Here, the third is curiously the weakest link, like director Daniel Alfredson was just running out of ideas and came to the third film utterly spent. Subplots and characters from the book are excised (sometimes understandably), disrupting much of the flow that the book had, and somehow feels “less” despite a hefty two and a half hour runtime. It was a dense piece of work, to be sure, and no doubt difficult to translate in full, but having kept most of the other books intact from novel to screen makes this a curious exception. Plus, it felt like the most dependent of the three films, that you really do need its predecessors and all your emotional attachment to the characters then to appreciate their plight now. The finale is a lackluster series of tidy resolutions that lack the emotional impact of Larsson’s prose, despite some excellent work from Noomi Rapace in Lisbeth’s courtroom scenes as she matches wits with an ambitious prosecutor. A slight disappointment that feels vaguely like a televisual interpretation of the book’s cinematic potential, but I’ve been removed from the series for about a year and a half now, and might not like it as much as I thought I did after reading the novels in the meantime.

-> 6/10
  #3325  
Old 02-14-2012, 10:53 PM
The Keep (1983)

Mann's second film and a controversial adaptation of Wilson's novel that didn't go down too well with either the audiences or the author. The film isn't particularly bad but there is obviously allot of hack editing going on and much of the original plot has been ignored or cut.

On the visual side the film is really quite cool looking, it almost looks like an early MTV rock video hehe the effects (for the time) were pretty swish and do hold the tone of the film together. There is allot of visual flair going on here which is one of the films saving graces.

Another plus point is the soundtrack by Tangerine Dream, as you would expect their usual blend of futuristic, electronic, enthral and spiritual sounds is quite unique and very uplifting to listen to. The only problem is this lovely soundtrack doesn't really fit this film, allot of tense moments don't really come across as I suspect they should have whilst the music floats in the background, you would expect to hear a score like this for a film like 'Blade Runner'.

The film is also confusing and unexplained, the original novel is straight forward but the film is a mess. The evil entity that is released seems to be angry at the Nazi's for killing 'his people' so I'm guessing it was a Jewish entity? and if it wants to kill Nazi's why not let it?. We also don't find out where the entity comes from, what it is?, what's its purpose?, who is 'Glenn'?, what is 'Glenn's' story? etc...

This isn't really a horror in my eyes, there isn't much blood or gore and its not scary in the slightest, it comes across as a slightly adult version of 'Raiders of the Lost Ark' really.* The entity or demon is a bit comical to be honest, should of been kept unseen really, shame as the sets, lighting and camera work all play well to set the mood.

I think first time viewers who have not read the novel will struggle with many questions but the blend of gothic horror set amidst WWII will keep most entertained and interested as it is well crafted. The cast of big names in early roles also works in the films favour, check McKellen in a pre 'Professor X' type role and Gabriel Byrne as the sadistic German SD Officer Sturmbannführer.
  #3326  
Old 02-14-2012, 11:07 PM

Safe House(2012)-6/10
  #3327  
Old 02-15-2012, 01:25 AM
Streets of Fire - 5/10

Disappointing. I wanted to like this stylish blend of 50's and 80's, but unlike The Warriors, I didn't feel much of a connection to the world we're brought into. The story was terribly bland and fails to engage from the beginning, and while I want to fault Michael Pare, he does the best he can. There were some catchy music numbers that bookend the film, but they act as filler and setting the atmosphere without contributing much to the rest of the movie. And for having the skills to direct action as well as he does, Mr. Hill disappoints.
  #3328  
Old 02-15-2012, 01:31 AM

Singles(1992)-7/10
  #3329  
Old 02-15-2012, 04:38 AM
A Dangerous Method (6/10)
  #3330  
Old 02-15-2012, 11:04 AM
Personal Property with Jean Harlow and Robert Taylor - Taylor plays a sheriff who acts as a butler for a widow in serious debt - he is there to make sure nothing is removed until her creditors are paid. Romance develops of course and there are some laughs and a nice tidy ending. Harlow is fun as always and the story is pretty good. 7/10

True Lies - A lot better than many of the more mindless action flicks and there are elements of screwball comedy as well. 6/10
  #3331  
Old 02-15-2012, 02:51 PM
Martha Marcy May Marlene (8/10)
  #3332  
Old 02-15-2012, 04:36 PM
Pre-release
Act of Valor
Jeff Who Live at Home
Project X (2012)
Salmon Fishing in the Yemen

Post-release
Best Laid Plans (1999) C+
Evil Dead Trap C
Humanoids from the Deep (1980) D
  #3333  
Old 02-15-2012, 04:53 PM
Lifepod ('81) - 6/10
  #3334  
Old 02-15-2012, 08:20 PM
Fantomas



Part crime fantasy, part parody, and aaaaall French. Severely French. In the mid-‘60’s at that, so you can be sure it captures the sexy couture of the time, plus the European craze of the James Bond series in its title villain, a scheming blue-hued criminal mastermind of a thousand faces and exactly one brand of Evil Chuckle. Problem is, nobody thinks he’s for real, least of all the local press, represented with a brisk charm by Jean Marais, pulling double duty as hero journalist Fandor and Fantomas himself, itself a small wink to the audience that the filmmakers are fucking with you and enjoying it. When Fandor decides to run a tongue in cheek campaign of ridicule involving a fake interview with the fabled criminal, it pisses off Blue Man Group’s grandfather and results in a vendetta against the reporter and the cops who can never seem to catch up in order to prove his legacy to the world. It’s all a bit nutty, and all the more entertaining for Louis de Funes as the bumbling police chief, a comic performance of such great physical timing that one can’t help but be reminded of Chaplin or Sellers in their prime. And then you have the multivehicular and foot chases that sport some of the craziest stunts ever to have been pulled off in that simpler era, and it adds up to a nice bit of fluffy retro fun.

-> 7/10


There. A movie no one else could POSSIBLY have thought to watch today. My work here is done. This is a good day. Yes. Ahhh....
  #3335  
Old 02-15-2012, 08:22 PM
Fantômas



I used to watch this growing up. Back then I was practically raised on French comedies of Louis de Funes. To me he is the greatest physical comedy actor to come out of France (an answer to Chaplin?). Fantomas is not his main starring role, in fact he’s a supporting actor – yet he’s the one who steals the show, as he has always done in other films. The film plays up the 60’s mystery aesthetic quite well. Some of it even reminded me of the early Bond films. What’s also amazing is the “epic” last couple of minutes of the chase when our main characters try to catch the elusive Fantomas. Which deserves a nomination for “ballsiness” considering how it seems like no stuntmen where involved. At the time of me watching this as a kid, I can see how I loved it, though I have to attribute most of that love for my man de Funes. Watching it all these years later I have a bone to pick with the inconclusive ending (however earlier we were forewarned we’ll never know the identity of our baddie Fantomas… does it make that ending legitimate though?) and just an almost ridiculous way of hinting at who can it be. Which made me think, are they being serious or just getting away with it being a comedy? If not, it must be the first film I’ve seen that tackles schizophrenia. With that said, Commissar Juve stole the show thanks to de Funes who’s had a “make people laugh” gene since he was born. Some people are just born with it.

7/10
  #3336  
Old 02-15-2012, 08:25 PM
... ...

RUSSIANS. Of COURSE...
  #3337  
Old 02-15-2012, 08:26 PM
LMAO syxx, are you serious? boy there's a coincidence if I ever saw one... Christ.
  #3338  
Old 02-15-2012, 10:12 PM
Well I'm freaked the fuck out.
  #3339  
Old 02-15-2012, 10:17 PM


James Gunn’s Super is a bit of a horse of a different color. It doesn’t relish or homages in the comic book “vigilante justice” genre, or does it try to deconstruct the genre entirely. Rather, Gunn’s film is Scorcese’s Taxi Driver mixed with comic book window dressing and taste of Troma films, leading to a concoction that relishes in damaged characters and the darkest of humor. It’s certainly not for everyone, but the weight that Gunn brings to the story is certainly more than the easygoing trailers would have you believed.

This isn’t a film where the character follows a sense of justice and purpose for suiting up to be a crime fighter, but more out of despair and loss. Rainn Wilson’s Frank D’Arbo is the essential “stepping stone” victim, with life dealing a terrible hand every which way he goes. It gets even worse when his one true piece of happiness, his wife Sarah (Liv Tyler), is lost to scumbag drug dealer Jacques (Kevin Bacon). Then, through a guiding light or blind delusion, Frank decides to become his created persona of the Crimson Bolt, rampaging through crime with his blunt wrench as a weapon. Gunn has no qualms on the insanity of what Wilson’s character dives into throughout the film’s runtime, and he enjoys diving into the rabbit hole, while also keeping the character of Frank to be a sad, sympathetic character. Wilson certainly nails the pathos of Frank, never becoming a clone of his Office character Dwight Schrute, and showing real dramatic chops, while also hitting off some good comedic moments as well.

But, while Wilson’s Frank is a pretty rounded, depressing character, there is also Ellen Page’s Libby, a girl who works in a comic book store who soon realizes who Frank is and wants in on the superhero business. Page’s character is a pretty laid back character at first glance, but a chance to take down crime with Wilson’s Frank brings out the violent id in her, becoming an insane and childish adult. There are moments where Page sort of feels out of her element with the insanity that comes across as fake, but she lands on her feet for the most part despite brief slip ups. As for the rest of the cast, they make the most of the scenes. Liv Tyler is good as Frank’s damaged wife, and Kevin Bacon is a hoot as the jerk drug dealer villain that plays the “smarmy nice guy” attitude really well.

But, it’s certainly director James Gunn’s show, as he created a film that is tight and focused. He hits the story beats and themes without leaving pockets of boring scenes to crop their heads, and allowing things to get more and more insane as the film’s climax gets closer. As a descendant of the Troma films, he’s certainly not afraid to bring that type of bloody, gross-out mood in certain scenes of the film, but never at the cost of where the characters or story is at that moment. It feels organic, not hackneyed and eye rolling, and that’s Gunn’s biggest accomplishment for his film.

Is Super for everyone? Certainly not, but this film reviewer is pretty impressed considering how with every proceeding insane scene comes a pretty poignant and, at times, hilarious moment for the film’s central character and his journey. It’s a wild movie ride, but a ride that knows where it's going, and when to leave its passengers at the right moment.

8/10
  #3340  
Old 02-15-2012, 10:35 PM

The Vow(2012)-6/10
  #3341  
Old 02-16-2012, 12:58 AM

40 Days and 40 Nights(2002)-7/10
  #3342  
Old 02-16-2012, 09:20 AM
Martha Marcy May Marlene



I had my theories and speculations during my viewing of this film, but I think it's not as complex as I thought, or others may believe it is. I mean, as far as that somewhat ambiguous ending...which in retrospect, makes sense. I personally am a great fan of the calm, sublime type of films such as Marlene. The hypnotic overall mood of it, is juxtaposed by whatever minimal but gritty violence we get only adds to the already surreal film.

8/10
  #3343  
Old 02-16-2012, 12:22 PM
Dear Heart with Geraldine Page and Glenn Ford - Page was adorable as a lonely woman looking for someone to love and Ford was pretty good as well as the recently engaged womanizer she meets. I liked the scene near the end between those two and Angela Lansbury as the fiancee. 7/10

Hotel Rwanda - Don Cheadle was great in the lead role and the story is definitely an important one that needed to be told but some of the supporting players annoyed me - especially Nick Nolte. Overall I liked the film but getting rid of Nolte would have helped. 7/10
  #3344  
Old 02-16-2012, 12:47 PM
The Young Stranger - 6/10
One of the most annoying, whiny, cunts of a main character I've seen in a while.
Eraserhead Stories - 6/10
  #3345  
Old 02-16-2012, 08:21 PM
DR. HORRIBLE'S SING-ALONG-BLOG - 10/10

It's been over a year since I watched it. Fuck I missed it!
  #3346  
Old 02-16-2012, 09:37 PM
Underworld: Awakening



5/10
  #3347  
Old 02-16-2012, 09:49 PM

Journey 2: The Mysterious Island(2012)-5/10
  #3348  
Old 02-16-2012, 09:51 PM


A great recipe is hard to handle sometimes when there is a significant change to it, but it’s also encouraging because that recipe could be just as good, if not better than what the recipe previously offered. When British director Edgar Wright made the films Shaun of the Dead and Hot Fuzz, with actors Simon Pegg and Nick Frost in starring roles, they brought about the perfect homage movies of zombie and action films. They were so beautifully and delicately conceived that it seemed a bit wary when those three ingredients would be separated. Such is the case with the 2011 offering Paul, with Pegg and Frost in the writing seat, and Greg Mottola in the directing chair. The resulting factor is a decent and harmless viewing experience, but something far removed to Pegg and Frost’s excellent British collaborations with Edgar Wright.

Not to say that this film was automatically dead on arrival from the starting gun, as director Mottola has two solid comedic/drama films under his belt, Adventureland and Superbad. For this film’s story under the control of Pegg and Frost, it seemed to essentially be a mix between the enjoyable Judd Apatow-like improvisational comedic styling, and the dry, but effective British comedy from Pegg and Frost’s previous films. But, for this film, it seemed the Apatow mood overwhelms most of the film, competent but never as tightly woven as films like Shaun and Hot Fuzz. The film is another homage like Pegg and Frost’s previous films, with the celebration being geek culture, as well a love letter to science fiction films, and the tone never feels forced. It’s fun loving to the characters and the story, with each individual having their own moment to shine in their own given way.

Simon Pegg and Nick Frost are no slouches when it comes to the “nerdy hero”, so they fit right in as two optimistic science fiction fans that briefly visit Comic Con, then go on a road trip throughout Arizona to visit UFO landmarks. Only, on their journey, they soon cross paths with an actual alien named Paul, a computer generated character voiced by Seth Rogen, who asks for their help to escape from the clutches of some shady government agents. The most endearing part of this film was there are so many chances where the story process could pit the characters against each other, but Pegg and Frost take some interesting turns to allow the characters to make their own beats, and simply keeps a solid and fun group dynamic throughout the film.

Going back to the character of the alien Paul, Rogen brings his husky, yet endearing voice to the alien, and while it seems jarring at first, the voice soon becomes part of the charismatic CGI Paul, creating a crude and charisamtic organic creation that, while isn’t a flat out piece of extraordinary special effect, still works for the film as a whole. The rest of the supporting cast is also great as well, with Kristen Wiig as a religious shut-in women who soon gets to experience life once she crosses paths with Pegg, Frost, and Rogen’s Paul. Jason Bateman pops up as the straight-laced government agent tracking Paul, sticking with the humorous act of subtlety when it comes to cracking a joke or two, and Bill Hader and Joe Lo Truglio are a hoot as two inexperienced agents who slowly become unraveled by their pursuit of the two geeks and the alien.

Ultimately, there’s nothing seriously wrong or offensive with Greg Mottola’s Paul, it’s about as a laid back movie experience that a movie fan could get, especially one who enjoys the cast and director behind this work. But, for die-hard fans of Pegg and Frost previous work with past collaborator Edgar Wright, there may some serious comparison and possible disappointment towards what the British duo brings to American audiences. But, like a change in recipe, it could be for the better or just be something of an unfortunate missed opportunity.

7/10
  #3349  
Old 02-17-2012, 01:06 AM

Comedian(2002)-7/10
  #3350  
Old 02-17-2012, 08:50 PM
Hatchet II



great, funny and ridiculous kills

5/10
  #3351  
Old 02-17-2012, 10:23 PM
After Hours (Martin Scorsese, 1985) B+
Pretty good, but not amazing. All in all, the 1980s, Raging Bull aside, was his least-memorable decade (I mean I guess the 1960s was but made his first film in 1967 so I don't really consider him to be a director of the 60s since he didn't see success until the early to mid 70s). After Hours is a funny movie at times, but it's all over the place. I know that's kinda the point, since the whole plot is that the character is trying to get home in one piece and ends up all over New York City, but I feel like he was screwed over a little TOO much, most likely in an effort to bulk up the story. Regardless, it was pretty enjoyable and is definitely one of Scorsese's more overlooked films.

Dial M For Murder (Alfred Hitchcock, 1954) A
I really liked this. It's an excellent film about the unpredictability of life. It was so interesting to see how the murder scheme basically fell apart and even better to see how the inspector pieced everything together. The acting can be a little hokey at times (but that's what you often get with older films that use classically trained actors) but overall it's an excellent and suspenseful film.

The Treasure of the Sierra Madre (John Huston, 1948) A
I went into this expecting an adventure film, sort of like an homage to adventure serials and possibly a spiritual precursor to a film like Raiders of the Lost Ark (just without any kind of supernatural element). What I got was a lot slower but also incredibly fascinating. It's a brilliantly-told story about the dangers of wealth and the paranoia and cynicism that comes with greed. Humphrey Bogart is absolutely fantastic in this, proving why AFI named him as the greatest male movie star of all time. He always has a great on-screen presence. The film was slower than I would have liked, and even though it was only two hours, it felt like maybe two and a half. In any case, it's still one of the greatest films ever made and features some great direction and one of Bogart's best performances.
  #3352  
Old 02-18-2012, 01:02 AM

Wayne's World(1992)-7/10
  #3353  
Old 02-18-2012, 06:43 AM

6/10
  #3354  
Old 02-18-2012, 07:58 AM
Hostel III (2011)

Next new outing for this torture porn series and there isn't much really I need to say about it, I'm sure most will know the premise by now.

Bunch of young guys and some sexy skirts get abducted by a few big meat heads and dragged off to be slaughtered for the entertainment of ultra rich folk, just your usual Saturday night out round these parts.

Much like 'Saw' the first film was good and original, the second also just got by but after number two they should stop. The idea has been used and the novelty is over, from here on its just the same thing but with new sick ways to murder people and this third film is just that. The only difference that the 'Saw' franchise has is the reasonable story throughout which contains reasonable twists n turns, this Hostel flick is just a stand alone story with nothing new to offer.
  #3355  
Old 02-18-2012, 09:16 AM
The Woman In Black ('12) - 6/10
Brake - 5/10
  #3356  
Old 02-18-2012, 09:49 AM
JACK AND JILL - 2/10

Too harsh? Nah, probably not. Making myself sit through this was rather harsh. Of them for making it; and me for suffering.
  #3357  
Old 02-18-2012, 03:22 PM
Quote:
Originally Posted by KcMsterpce View Post
JACK AND JILL - 2/10

Too harsh?
Not at all, anything higher would be far too generous.

The Butterfly Circus - 9/10
Wonderful short!
  #3358  
Old 02-18-2012, 04:14 PM

7/10

Second film i watch from Bruce Robinson. Is The Rum Diary a must see?
  #3359  
Old 02-18-2012, 05:25 PM
to kill an mockingbird[1962]

5/5

an American classic.

Commando[1985]

3/5

a brainless action movie and it's knows it.
  #3360  
Old 02-19-2012, 02:19 AM
SPARTAN (2004) - 6/10

Another "ok" effort by Mamet. The dude's done some genius shit, but then he also did RED BELT, so... *shrug* lol
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