movies

[Vidor]

Watched "The Gift" w/ Jason Bateman. Pretty good movie and an unexpected plot twist.

But unlike the last movie called "The Gift", does not feature Katie Holmes topless.

[stlouie_lipp]

"Creed" is getting great reviews. Some even saying it deserves to be nominated for multiple Academy Awards.

[Maclowery]

Zoolander and Anchorman are kind of similar movies to me. Absurdist, self-aware slapstick. I've seen both of them many times. Anchorman 2 is depressingly un-funny, and I feel like Zoolander 2 is heading for that. The title 2oolander is stupid, I liked the Zoolander No. 2 take on Chanel better.

Anyway, I didn't really laugh at all during that trailer except when Mugatu came out super-buff.

[The Third Man]

Repo Man: So up my alley it's ridiculous: a sci-fi punk-rock comedy starring Harry Dean Stanton and set in the 80s LA hardcore scene, while taking endless clever potshots at capitalism, consumerism and Reagonomics. I can see myself getting a lot of mileage out of this movie. "What about our relationship?" "[expletive] that."

Pulse: The first hour is about the creepiest damn thing I've ever seen, but it broadens its scope to become a trenchant examination of the stultifying effects of the internet on true connection, which is impressive given that it's nearly fifteen years old. Has a sense of oppressive dread matched by very few films.

The Last House on the Left: Man, 1970s rape-revenge films [expletive] sucked. This was just barely better than the truly execrable I Spit on Your Grave. Neither film offends me, mind you - they're just so amateurish and deathly boring. At least this one isn't as padded out with endless cuts as I Spit on Your Grave, but on the flip side, at least that film had the balls to show you the violence. Whether that's commendable or not, in the words of Walter from The Big Lebowski: "At least it's an ethos."

Room: Hadn't even heard of this until yesterday when I caught a 4:30 showing on a whim (thanks, MoviePass). There are a lot of ways in which a film about this particular scenario - kidnapping and sexual enslavement - could've gone wrong, but by portraying the events herein through the perspective of a child, it avoids being flip or salacious while still underlining the seriousness and gravity of the situation. It's also not afraid to tackle the more messy emotions. Brie Larson is as usual fantastic. Other than a score and occasional voice-over narration that play a little too precious, this is about perfect.

A Nightmare on Elm Street 2: Holy hell this movie is seriously gay. No, really.

Crimson Peak: The weird horror film that isn't scary in the slightest but is still well worth a watch due to its charms as a Bronte-style gothic romance and the phenomenal set design, costuming and cinematography. del Toro could probably use the services of a gifted screenwriter, though.

Blade 2: Eh, watchable but I prefer the self-assured and serious tone of the first. This one gets a little goofy for its own good. I'm not sure you can make a comic book film that tries to strike a balance between, well, comic-booky fun and weighty violence.

The Return of the Living Dead: This would make a great double feature with Repo Man. Trash is the real MVP of the film, those who have seen it will know why.

Ikarie XB1: Watchable, but mostly interesting for what an obvious influence it had on later sci-fi films.

Inside Out: Might be Pixar's best yet. It stages the emotional turmoil of a preteen as a battlefield and to beautiful effect, portraying aging and change as a life-or-death struggle without feeling silly, and it's incredibly vibrant and imaginative while still retaining a melancholy core. Nice return to form.

Goodnight Mommy: Telegraphs much, but is so methodically creepy and intense that it hardly matters. More Michael Haneke than Michael Myers.

Scouts Guide to the Zombie Apocalypse: There are worse ways to spend 90 minutes, but don't bother going out of your way to see this. Drags its feet way too much and the comedy is uninspired.

[JL21]

Holy [expletive], Jurassic World was laughably awful.

[JL21]

Repo Man: So up my alley it's ridiculous: a sci-fi punk-rock comedy starring Harry Dean Stanton and set in the 80s LA hardcore scene, while taking endless clever potshots at capitalism, consumerism and Reagonomics. I can see myself getting a lot of mileage out of this movie. "What about our relationship?" "[expletive] that."

I like to think of it as an X-Files episode spoofing Reagan's America, directed by Iggy Pop. Which is to say, I loved the [expletive] out of it.

Crimson Peak: The weird horror film that isn't scary in the slightest but is still well worth a watch due to its charms as a Bronte-style gothic romance and the phenomenal set design, costuming and cinematography. del Toro could probably use the services of a gifted screenwriter, though.

Yeah, that's pretty spot-on. I love del Toro, and Crimson Peak's atmospherics and nod to British horror were great. But the dialogue was so bad. Kind of Strain-esque, really.

Goodnight Mommy: Telegraphs much, but is so methodically creepy and intense that it hardly matters. More Michael Haneke than Michael Myers.

Definitely Haneke, definitely a touch of New French Extremity, and very reminiscent of other face horror movies like Eyes Without a Face and Teshigahara's Face of Another. I don't think it gives two [expletive] about telegraphing things. Hell, I think much of it was really obvious.

[Freed Roger]

Repo Man: So up my alley it's ridiculous: a sci-fi punk-rock comedy starring Harry Dean Stanton and set in the 80s LA hardcore scene, while taking endless clever potshots at capitalism, consumerism and Reagonomics. I can see myself getting a lot of mileage out of this movie. "What about our relationship?" "[expletive] that."

Pulse: The first hour is about the creepiest damn thing I've ever seen, but it broadens its scope to become a trenchant examination of the stultifying effects of the internet on true connection, which is impressive given that it's nearly fifteen years old. Has a sense of oppressive dread matched by very few films.

The Last House on the Left: Man, 1970s rape-revenge films [expletive] sucked. This was just barely better than the truly execrable I Spit on Your Grave. Neither film offends me, mind you - they're just so amateurish and deathly boring. At least this one isn't as padded out with endless cuts as I Spit on Your Grave, but on the flip side, at least that film had the balls to show you the violence. Whether that's commendable or not, in the words of Walter from The Big Lebowski: "At least it's an ethos."

Room: Hadn't even heard of this until yesterday when I caught a 4:30 showing on a whim (thanks, MoviePass). There are a lot of ways in which a film about this particular scenario - kidnapping and sexual enslavement - could've gone wrong, but by portraying the events herein through the perspective of a child, it avoids being flip or salacious while still underlining the seriousness and gravity of the situation. It's also not afraid to tackle the more messy emotions. Brie Larson is as usual fantastic. Other than a score and occasional voice-over narration that play a little too precious, this is about perfect.

A Nightmare on Elm Street 2: Holy hell this movie is seriously gay. No, really.

Crimson Peak: The weird horror film that isn't scary in the slightest but is still well worth a watch due to its charms as a Bronte-style gothic romance and the phenomenal set design, costuming and cinematography. del Toro could probably use the services of a gifted screenwriter, though.

Blade 2: Eh, watchable but I prefer the self-assured and serious tone of the first. This one gets a little goofy for its own good. I'm not sure you can make a comic book film that tries to strike a balance between, well, comic-booky fun and weighty violence.

The Return of the Living Dead: This would make a great double feature with Repo Man. Trash is the real MVP of the film, those who have seen it will know why.

Ikarie XB1: Watchable, but mostly interesting for what an obvious influence it had on later sci-fi films.

Inside Out: Might be Pixar's best yet. It stages the emotional turmoil of a preteen as a battlefield and to beautiful effect, portraying aging and change as a life-or-death struggle without feeling silly, and it's incredibly vibrant and imaginative while still retaining a melancholy core. Nice return to form.

Goodnight Mommy: Telegraphs much, but is so methodically creepy and intense that it hardly matters. More Michael Haneke than Michael Myers.

Scouts Guide to the Zombie Apocalypse: There are worse ways to spend 90 minutes, but don't bother going out of your way to see this. Drags its feet way too much and the comedy is uninspired.

thanks man. Harkens to the generosity of Clement. Odds of me watching more than a couple are small, but like the lowdown.

[Maclowery]

Holy [expletive], Jurassic World was laughably awful.

I didn't get the hype. Why was it different from the 3rd one? Chris Pratt? I feel like I liked that one more. Which is embarrassing for Jurassic World. How the hell did it make 3rd best movie of all damn time?

But, hey, that putridly un-entertaining Alice in Wonderland made a billion dollars as well.

[go birds]

Holy [expletive], Jurassic World was laughably awful.

I didn't get the hype. Why was it different from the 3rd one? Chris Pratt? I feel like I liked that one more. Which is embarrassing for Jurassic World. How the hell did it make 3rd best movie of all damn time?

But, hey, that putridly un-entertaining Alice in Wonderland made a billion dollars as well.

man i wanted to like it so bad because [expletive] JURASSIC PARK and CHRIS PRATT and even walked out of the theater thinking i liked it.

watched it again the other night and boy is it bad.

cant believe they are making two more

[thrill]

Bone Tomahawk is longer than it needed to be, but awesome. A cannibal western horror. Richard Jenkins is great as the token, doddering but competent old timer. Kurt Russell is badass.