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DuracellEnergizer said:

Dek Rollins said:

I’m sorry but Duck Soup is perfect.

I’m sorry but not enough salt.

Just watch The Last Jedi afterwards.

Army of Darkness: The Medieval Deadit | The Terminator - Color Regrade | The Wrong Trousers - Audio Preservation
SONIC RACES THROUGH THE GREEN FIELDS.
THE SUN RACES THROUGH A BLUE SKY FILLED WITH WHITE CLOUDS.
THE WAYS OF HIS HEART ARE MUCH LIKE THE SUN. SONIC RUNS AND RESTS; THE SUN RISES AND SETS.
DON’T GIVE UP ON THE SUN. DON’T MAKE THE SUN LAUGH AT YOU.

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DuracellEnergizer said:

Meh.

“After a time, you may find that having, is not so pleasing a thing after all, as wanting. It is not logical, but it is often true.” - Spock

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OVERLORD (2018)

Intense, visceral, well paced. Best Bad Robot production since 10 Cloverfield Lane.

Help back OMNO!

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Tobar said:

OVERLORD (2018)

Intense, visceral, well paced. Best Bad Robot production since 10 Cloverfield Lane.

Mission: Impossible - Fallout would like a word (can confirm though Overlord is fucking rad).

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Can You Ever Forgive Me? - A film that accomplishes an impressive balancing act, tackling a rather sad and depressing story for drama without ever becoming depressive, all while mining the absurdities of that story for humor without ever becoming comedic. McCarthy and Grant are fantastic. B+

Suspiria (1977) - I liked this movie so much it made me angry that I’d never seen any Argento films. The mix of music, color, and movement is absolutely hypnotic. A-

Suspiria (2018) - If you’re expecting it to be the same as the ‘77 original, you’ll be disappointed, but if you’re expecting it to be the same, why even watch? There are some similarities of course, the basic premise, but also the beautiful (witches’) brew of spellbinding cinematic viscera. How this is accomplish marks one of the bigger differences, though - many have pointed out the striking difference in use of color (though I’d argue Guadagnino’s approach is just as distinct in that regard as Argento’s but in a different way), and the larger focus on the dancing. Ultimately, however, the biggest discrepancy is that of scope. Argento’s film is a nightmare fairy tale, while Guadagnino’s is a nightmare epic. Guadagnino not only gives more space to the supernatural mythology, but also brings in a larger political element. The effectiveness of the latter is up for debate (I go back and forth), but the thematic purpose it serves justifies it, at least in my mind. This isn’t merely a horror film about surviving a dance academy that’s secretly a coven of deadly witches, it’s a real drama about punishment, guilt, and dealing with oppression. Will everything make sense after a first viewing? Almost certainly not. But the good news is the film will crawl into your brain, and remain there until you can’t help but go back for more. A

Outlaw King (2018) - I’m not sure if I fully understand where things went wrong here, it seems like everything was in place for a great film - talent behind and in front of the camera, with a gripping story to tell - and yet this is definitely not that. This feels very much like going through the motions of what this kind of film should be, except they skipped all the parts where they make me care about what’s going on. Still, it’s pretty, and the action’s good, and you can’t not love Chris Pine. C+

Boy Erased (2018) - A powerful story, told in a way that wisely avoids sensationalizing, which makes the most dramatic moments all the more effective. Still, while everything here is competent and compelling, it feels there’s something missing. The final portion of the film makes everything about Hedges’s character’s relationship with his parents, and yet for the rest of the film this thread feels like a subplot at best. Could’ve done with more of that, but in the grander scheme of things I must say I’m glad stories like these are being told. B

Overlord (2018) - I didn’t go in expecting all that much, but this film grabs you right away in throws you into what works surprisingly well as a legitimately serious and dark war movie, with the bonus of a little sci-fi horror thrown in later. Honestly my biggest complaint is, as much as I enjoy Bad Robot’s high production value B-movie style when it comes to the more outlandish elements here, it’s sort of clashing with the actual straight-faced horror of the Nazis and their war. That said, the stakes feel very high throughout, and the action hits hard. Truthfully, there isn’t much more you could want from a movie like this. B+

Police Story (1985) - Jackie Chan movies are something of a blindspot for me that I’ve been slowly trying to remedy. I have to say though, after this one, I’ll probably speed that process up considerably. B+

Nausicaa of the Valley of the Wind (1984) - When it comes to cinematic blindspots, Miyazaki is probably my most glaring. And yet, I can’t help but be thankful for that, when I see a film like this (an instant favorite) and knowing there’s more like it to come in the rest of his filmography. A

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Three Billboards Outside Ebbing - amazing film, recommend to everyone, one of the best my movies of 2018

Three Billboards Outside Ebbing

Pregily

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This week I watched…

High And Low (dir. Akira Kurosawa, 1963)
Shoot The Piano Player (dir. Francois Truffaut, 1960)
Judex (dir. Georges Franju, 1963)
The Princess Bride (dir. Rob Reiner, 1987)
This Is Spinal Tap (dir. Rob Reiner, 1984)
Gimme Shelter (dir. Albert & David Maysles, 1970)

Great stuff across the board. Judex deserves special mention for being totally crazypants. The only other Franju film I’ve seen is Eyes Without A Face, but between those two I’m feeling motivated to look into everything he ever did.

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Bohemian Rhapsody. I just wish NOPE DONT TALK ABOUT THE PLOT, THIS IS A SPOILER-FREE ZONE!

“Be yourself, everyone else is already taken” - Oscar Wilde

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This afternoon, a double bill of 50s Brit films with, Waterfront and The Good Die Young.

Waterfront Poster

TGDY

Enjoyed both films but the former ended with too many uncertainties. I’m damn near certain that the latter influenced Kubrick’s The Killing and the Hughes Brothers’ Dead Presidents.

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Widows (2018) - More than your typical heist film, more like a crime epic. All around great performances and hard edged direction from McQueen pull off the job here easily. And yet, greatness seems to be in reach but just barely missed. There are a lot of subplots which add depth and texture to the characters and the world, but the payoffs make one question why so much time was spent in different areas. I feel like this film either needed to be a lot longer, or trimmed a bit shorter. Either way, like I said, it works. B+

Amelie (2001) - I always appreciate a film with an aggressively specific and unique sense of style. However, there’s always a risk there. With this, the film’s quirkiness oscillates between enjoyable and somewhat grating. Thankfully, moreso the former. B

Sabrina (1995) - While I appreciate the classy/classic approach this film took, it does beg the question of why it even needed to be made if was barely modernizing the story in its retelling of the 50s original. There’s nothing bad here, and it all pretty pleasantly told, but it’s just kinda whatever in comparison when the biggest reason why the original is a must-watch is missing (Hepburn, naturally). B-

Fantastic Beasts: The Crimes of Grindewald (2018) - As if doubling-down on the worst aspects of its predecessor - pointless world-building, excessive sequel set-up - weren’t enough, Rowling and co. have also added all new problems - over-abundance of inconsequential characters, inert motivations, complete lack of forward momentum, etc. Honestly it would be a lot easier for me to list everything that isn’t wrong with this movie… uh there’s, well… maybe “easy” was the wrong word to use. In all seriousness, the visuals are nice, even if the cinematographic look applied makes everything seem drab and lifeless. I’ll also say that most of the actors seem to be trying their best, which I guess is all you could ask for. D

The Ballad of Buster Scruggs (2018) - As much as I love the Coen brothers, I’ve always felt like I clicked more with their dramas than their straight comedies, so while I was excited for this, think it’d be the latter I didn’t know how much I’d like it. Turns out it’s much more in the vein of my favorite Coen work - primarily dramatic but with a strong sense of dark humor (though ironically my favorite chapter is the most comedic). Here they present their own idiosyncratic take on How the West Was Won, with all the amusing misanthropy one has come to expect from them. Gorgeous vistas (courtesy of the reliable Bruno Delbonnel) and wonderful performances abound, and while not every chapter is as easily enjoyable as the next, they all serve to paint the Coen’s horrifying (yet oddly beautiful) portrait of the wild west. B+

Green Book (2018) - A story about an endlessly interesting man, almost completely squandered by focusing the perspective on his driver, who’s essentially just a cartoon character. There’s potential for something really compelling here, examining the intersections between race, class, and culture, but the filmmakers have decided to portray things in the most pedestrian and inoffensive way possible. C+

Othello (1951) - I’ve never read Othello, and while Shakespeare tends to be better understood by watching it performed, that might not be the case with this film, where one must keep up with Welles flying through the narrative almost as quickly as his actors tear through the dialogue. Still, Welles’s dynamic, ahead-of-its-time style is a always exciting to watch. B

Naqoyqatsi (2002) - Starts strong but ultimately fails to live up to its predecessors, primarily due to its reliance on CGI and stock footage. Whereas Koyaanisqatsi and Powaqqatsi were able to present the world from a different perspective with their original footage, Reggio has to use editing and post processing techniques to make his point, which is far less successful. Yo Yo Ma is a fine addition to the soundtrack, but on the whole, Glass’s music is far less hypnotic than is necessary for this film to completely work. B-

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★★★★★★★★☆☆


★★★★★★☆☆☆☆


★★★★★★★☆☆☆


★★★★★★★☆☆☆


MST3K version

★★★★★★★★☆☆

Non-MST3K version

★★☆☆☆☆☆☆☆☆


MST3K version

★★★★★★★★☆☆

Non-MST3K version

★★★☆☆☆☆☆☆☆


MST3K version

★★★★★★★☆☆☆

Non-MST3K version

★★★★☆☆☆☆☆☆


MST3K version

★★★★★★★★★☆

Non-MST3K version

★★★★★☆☆☆☆☆


MST3K version

★★★★★★★★☆☆

Non-MST3K version

★★★★★☆☆☆☆☆


MST3K version

★★★★★★★★☆☆

Non-MST3K version

★★★☆☆☆☆☆☆☆

Arrivederci.

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I saw Wreck It Ralph two on Saturday and I loved it!!

I can answer almost all questions anyone might have about the Sith from Star Wars Legends, and please do PM me for the bd25 DEED(Despecalised Editions), as I have this version, though I can’t answer technical questions about them. Auntie Derry/Rumpelstiltskin.
Do not go gentle into that good night, Though wise men at their end know dark is right, They
Do not go gentle into that good night. “Stay Phrosty” - Lemar Kentell, my other half. Feel the love.

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3.5/5

5/5

Masterpiece

“Ryan Gosling staring off into the distance”

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Nope

“Ryan Gosling staring off into the distance”

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Love, Simon (2018)

A movie about gay men written by a straight woman for a straight general audience. Its pandering to the teenage demographic is laughably out of date (impact font memes!? The use of the word ‘epic’) and it was insanely clear that the writers weren’t LGBT+. This movie severely disappointed me. The plot revolves around blackmail, and has the horrible cliches that go with it. As soon as I noticed a pattern I knew exactly where this movie was going. The script was definately the weakest part. The soundtrack was fine and the acting was alright.

After reading some online reviews, I feel like an asshole for not liking it.

3/10

DESTROY ALL JEDI

My name is Sprite Pepsi and I’m abstinence till I die!

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snooker said:

After reading some online reviews, I feel like an asshole for not liking it.

I used to get that sensation from time-to-time.

Arrivederci.

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Robin and Marian (1976) - An elegantly executed tale of an elder Hood and Maid Marian. Connery and Hepburn bring it, but ultimately can’t say this is anything special. B-

Creed II (2018) - Manages to keep a consistent tone with it’s immediate predecessor while avoiding the disparate and ridiculous tone of its other predecessor (Rocky IV) even while the continuing Drago storyline. I very much appreciate that fact, and I’m a fan of what they were trying to here with Donnie’s character, and with Viktor Drago (and their parallels), even if their conflict never really congeals beyond the surface level. The climax is exciting as always, but I’m not entirely sure Donnie’s resolution is earned. Still, it’s great to have a blockbuster franchise that’s isn’t in the action/adventure/sci-fi genre and is really just small character drama. B

Ralph Breaks the Internet (2018) - Venturing into the interwebs is a clever idea for the series, though I must admit it does open a can of worms. The film essentially just uses it as a backdrop, which is good and bad - on the one hand the internet is an incredibly annoying place so it’s good that they don’t go too heavy with references, on the other hand setting a film in the internet almost seems to require some sort of commentary or insight on what it’s like to be online, and this film doesn’t seem to provide one other than “the internet sure is crazy and fun!” Yeah, I know, it’s a kid’s movie, and an enjoyable enough one at that. B-

Castle in the Sky (1986) - Another exciting adventure from Miyazaki, I really enjoy the depth he brings the worlds and cultures he creates. This one’s good bit of humor and whimsy but at the same time a surprisingly epic story at it’s center. B+

Being There (1979) - Don’t know what took me so long to watch this but glad I finally did. A premise that could easily turn into some cringeworthy dreck where we’re laughing at someone we shouldn’t be laughing at, but here Chance/Chauncey (Sellers) is treated very decently and empathetically. The joke is always on everyone else. Instant classic for me. A

Roma (2018) - An absolutely heartbreakingly beautiful film. Slice of life styles pieces are not often my favorite, but this one downright undeniable. From start to finish we are in Cleo’s world, and we feel everything she feels. Stellar work by all involved. A

Madeline’s Madeline (2018) - I always feel like the best films adopt a style that fits their protagonist’s personalities. That is certainly the case here, as we get Madeline’s frenetic, disconnected, and confused world through her eyes. The final third is invigorating, even if I feel the turn is a little sharp. B+

Private Life (2018) - A very solid dramedy that explores a potentially tricky subject with both humanity and wit. Quality performances abound. B

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Somehow , I never got around to seeing John Carpenter’s The Thing ( 1982 ) until today …I loved it ! The special effects on the creature were mind blowing , especially as they were all practically done and I thought they held up incredibly well .

https://screamsinthevoid.deviantart.com/

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Saw Goodfellas today, and it just never seemed to end. I guess I can add that to list of things to respond to “How many seconds in an eternity?” with. I think the movie would’ve been much better off as a TV show.

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Near perfect film.

The screen is a magic medium. It has such power that it can retain interest as it conveys emotions and moods that no other art form can hope to tackle. - Stanley Kubrick

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My Neighbor Totoro (1988) - Beautifully made fantastical look into the life of two young girls. Cute creatures, heartwarming story. Quite good, but not exactly my bag. B

At Eternity’s Gate (2018) - A film that uncompromisingly puts you in the headspace of a brilliant, mentally ill man. Compelling filmmaker that’s at many times hard to watch, though intentionally so. Also, who cares if Dafoe is too old to play Van Gogh when he’s this good. B

The Man Who Would Be King (1975) - Huston’s less memorable yet more racist redux of Treasure of the Sierra Madre. Connery and Caine seem to be having a lot of fun, but the film never seems to match their energy. C+

The Favourite (2018) - Almost certainly the funniest film I’ve seen released this year. The kind of picture that makes you wonder if you can ever take a stuffy period piece seriously ever again. I loved every minute. A