Last Movie You Watched

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Postby FreakyFilmFan4ever » Fri Oct 23, 2020 12:39 pm

View Original PostJustacrazyguy wrote:The only real canon is the main cast and their personalities. Everything else changes based on who is directing and writing it. Both Cagliostro and The First are on the lighter, more humorous side, but there is also Lupin media that goes in a darker direction. There is stuff for most tastes, really.

That sounds exactly like the kind of film franchise I have the energy for, and I'll probably watch more Lupin things in the future.

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Postby movieartman » Fri Oct 23, 2020 12:54 pm

View Original PostFreakyFilmFan4ever wrote:Raiga: God of the Monsters

This is a low-budget kaiju movie from Japan, where the filmmakers are clearly the ones having the most fun out of everyone. The audience can also have fun if they realize this early on. A lightning-summoning monster rises out of the ocean and attacks Japan, and the main characters (one of which is established as having magic girl powers?) ultimately have to stand by and watch as their government reaches comedic levels of hubris before realizing that there's really nothing they can do to stop the monster. I stress the "comedic levels of hubris" in this film, because it is cranked up to 11. Sure, there are satirical elements of Shin Godzilla, but that film didn't have scenes where the JSDF are acting like they're drunk on saké the entire time while plotting out their plan of attack with a weird, specialized military force pulled straight out of the wackiest of science fiction tropes. I found the DVD on store shelves in Walmart, but apparently the Blu-ray can be ordered from the distributor's website. The movie looked like a low-quality pirated torrent from 2002, so I have no idea what the quality would look like on Blu-ray. (This movie was filmed in 2019.) There are special features on the disc that show the creature design building the monster suit, and the suits looked better in that special feature than they did in the movie itself.

This isn't the movie you get drunk with your friends to watch; this is a movie that gets drunk with you and your friends as you all party hard during the movie night.


This is a loose sequel to a moderately more serious WW2 Kajiu movie Reigo.
http://www.scifijapan.com/articles/2009 ... ter-reigo/

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Postby silvermoonlight » Fri Oct 23, 2020 3:12 pm

View Original PostFreakyFilmFan4ever wrote:Raiga: God of the Monsters

This isn't the movie you get drunk with your friends to watch; this is a movie that gets drunk with you and your friends as you all party hard during the movie night.


Sold I want to go watch it now as the trailer looks interesting and fun (I'll post it over in trailer thread)
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Postby robersora » Sat Oct 24, 2020 7:59 am

Lake Mungo
Quite a competent mockumentary, stays entertaining throughout. Though not nearly as great as YouTube Thumbnails make it out to be. Like, if this is that amazing compared to the rest of the genre, I'm really happy I haven't really bothered with it until now.
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Postby Gendo'sPapa » Sun Oct 25, 2020 5:57 pm

Watched the movie A Whisker Away on Netflix. It might be my new favorite textbook of how STORY matters more than PLOT.

The PLOT of the movie did nothing for me. A girl is given a mask by a mysterious talking cat and whenever she puts on the mask she becomes a cat. Eventually after getting used to this gift a bunch of new obstacles arise and pretty soon whether or not she can become human again is a driving force of the action. While cute, all the PLOT stuff dealing with the mask, other people wearing masks, mystical cat lands that feel like the knock-off of Ghibli films that is are fluff that I won't hold onto with any affinity. In three days I'll struggle to remember most of this stuff.

But the STORY worked wonders for me. The main girl is a super extrovert who is actually holding in real trauma and she's placed so much of her hope on her feelings of love towards an extremely introverted guy who also is going through his own troubles. Everything about these two very different people getting to connect and relate to one another I found to be really affecting. I was really involved in these two weirdos getting together.

I'm just speaking for myself but I can still love a movie with a terrible plot if the story is engaging. I can enjoy but never love a movie with a great plot and a terrible story.

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Postby FreakyFilmFan4ever » Mon Oct 26, 2020 5:34 am

^ That sounds cute and I'll need to watch that.

And, yeah, on the whole story vs plot thing, I agree. I've always seen the plot as more of a framework within which to present a story, so a plot really doesn't need to do anything more than allow the story to happen in a way that isn't distracting from the story.

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Postby Gendo'sPapa » Mon Oct 26, 2020 7:34 am

It’s on Netflix.

It’s a perfectly enjoyable story carried by two engaging leads even if the plot is a little iffy.

As an added bonus if you listen to the original language it has two Eva cast members. You get to hear Fuyutsuki as a sweet old man and Kaji as an evil fat cat. I’m such a nerd now I hear an Eva voice actor and within two lines I’m going “Is that...?”

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Postby robersora » Mon Oct 26, 2020 11:44 am

View Original PostGendo'sPapa wrote: I can enjoy but never love a movie with a great plot and a terrible story.


I never really figured out that there was a difference between these two, but you've explained it perfectly either way, Thank You!
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Postby silvermoonlight » Mon Oct 26, 2020 12:05 pm

View Original PostGendo'sPapa wrote:Watched the movie A Whisker Away on Netflix. It might be my new favorite textbook of how STORY matters more than PLOT.


I recall reviewing this over in the anime thread and when I watched it I kept thinking I wish the second half had been the movie not the I'm so depressed and desperate I'm gonna stalk you as a kitty cat first half. I keep looking at this and thinking could have been so brilliant but something went wrong and I feel it was Mari Okada writing now don't get me wrong when she hits the right notes she can be utterly brilliant like with Toradora. When she gets it wrong you get Dragon Pilot Hisone and Masotan and whisker away which both have glaring double standards. Like I just wish she'd do more romantic slap stick comedy because as writer in my view that is where she really shines when it's off the wall funny and not serious the moment she gets serious the cracks start to show.
Last edited by silvermoonlight on Tue Oct 27, 2020 4:39 am, edited 2 times in total.
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Postby C.T.1290 » Mon Oct 26, 2020 9:31 pm

Well, I’ve watched the last half of the film Halloween 4: The Return of Micheal Myers at my dad’s place this past weekend. That ending had me confused; like, how does that part lead up to Halloween 5: The Revenge of Micheal Myers?
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Postby movieartman » Mon Oct 26, 2020 10:05 pm

View Original PostC.T.1290 wrote:Well, I’ve watched the last half of the film Halloween 4: The Return of Micheal Myers at my dad’s place this past weekend. That ending had me confused; like, how does that part lead up to Halloween 5: The Revenge of Micheal Myers?


SPOILER: Show
It was basically Myers evil possessing Jamie and it faded from her after that burst of violence, she is cursed with his muteness for the next year and becomes telepathically linked to him where she can at times see where he is and who his next victim may be.


Check out the full film sometime, it's my favorite of the series along with 2.

My review of the film from the last time I watched it.

View Original Postmovieartman wrote:Halloween 4 - The Return of Michael Myers (1988)
This & 2 are my favorites of the series & of slashers in general (haven't seen the new film yet).

Small spoilers...

Nitpicks/Cons...
- Worst mask of the series.
- Officer Logan's characterization is inconsistent. We see him appropriately panicked when he hears about the police station but in his next scene he calls the fortifications the Sheriff is putting up at his house paranoid & later casually calls the situation "hell of a night".

Pros...
- Great moody opening credits surveying farm equipment adorned with Halloween decorations.
- Solid score.
- The film certainty has a different feel from the original 2 films but is still very suspenseful & atmospheric in it's own way.
- Like 2 the film does a decent job of fleshing out Haddonfield as a real town with culture & history.
- Donald as always is great.
- Harris as Jamie remains among the best performances from a child actor I have encountered in a horror film.
- Rachel is a solid final girl.
- Sheriff Meeker (beau starr) I have always thought to be cool, his professional & trusting interaction with Loomis is more enjoyable then the more strained back & forth between Brackett & Loomis in 1/2. We get a faint hint of laziness/denial on his part with him initially trying to blow Loomis off but once he takes things seriously he goes into war mode like a boss.
- I liked that they wrote both Loomis & Myers as having learned from the events of 78, what with Loomis not hesitating to demand a town wide curfew which he resisted doing in 78 and Myers taking out both the Police & Power stations early on & letting officer Logan take him directly to his targets.
- Build up to & reveal of the police station massacre is chilling as well as the triple Michael sequence.
- This is easily the most powerful we have ever seen Myers on film.
- Entire ending from the battle atop the truck to the shootdown, to the twist is epic as hell.

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Postby EvaUnitREM » Tue Oct 27, 2020 9:32 am

Last movie I watched was the Mask with jim carrey, it made me laugh

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Postby C.T.1290 » Tue Oct 27, 2020 3:34 pm

View Original PostEvaUnitREM wrote:Last movie I watched was the Mask with jim carrey, it made me laugh

SMMMOKIN!!!

I need to see that film again sometime.
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Postby FreakyFilmFan4ever » Fri Oct 30, 2020 6:31 am

The Sky Crawlers

Upon re-watching Sky Crawlers, what was brought to my attention yet again was how surgically precise Mamoru Oshii is as a director. There isn't a lot of emotion in the film. A lot of the characters' emotions seem rather muted, but seem to be decidedly so. Oshii allows for very few scenes where the characters show any strong emotions, and when he does the moment is rather powerful and takes the viewer off guard. The type of emotions that are focused on is rather telling as well. The characters are not happy throughout much of the film. At best, they seem sedate and distant. Again, this all feels deliberate by Oshii, but the effect on the viewer isn't guaranteed. Some viewers might just find the characters boring and cease to engage with the film, which I think is a shame. There's a lot of interesting plot detail sprinkled throughout the scenes of characters naively living out their deja vu.

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Postby silvermoonlight » Mon Nov 02, 2020 1:45 pm

The Invisible Man 2020

An amazing take on the horror franchise I was very weary of this one as I thought it would do the horror trope of basically rubbing the victims nose in it and glorifying their abuse and suffering, it does none of this and its very clear writer and director studied the topic of domestic abuse and did their homework. Because of this it utterly knocks the movie out of the park.

SPOILER: Show
The movie has the almost Lovecraft feel in how you see Cecilia Kass try desperately to tell everyone that her ex is stalking her and wearing a suit for invisibility and playing phycological games and how he cuts her off from everyone in her world. You really feel her emotional struggle lack of control and alienation and loneliness as no one believes her not even her sister. Who is kind of a weak point in the film as she's not on side ether despite seeing Cecilia boyfriend smash in a window on her car which should tell a normal person everything they need to know. (But its horror, so I guess we had to have one dumb person)

Its gets even darker when it becomes clear her ex tampered with her birth control forcing her to have a baby it's not clear either if it was consenting and could have been rape. The films pay off in the final act is amazing in how it empowers the victim in a way that has you cheering and its done way better than a lot of films before it which have tackled this in how she plays him at his own game and wins.

My only nitpick in the film is it falls in to the problem trope of all guys are shit, even the ones meant to be your friends and this is a problem as the only good guy on screen is not on side for most of it until its revealed and Cecilia proves it all true that her boyfriend and his weak willed shitty spineless brother both have vanishing suits.

I only say this as this does have a sequel coming called the invisible woman and this could be become a deeply problematic men vs women gender war which could ruin it on every level and strip the first film off all its good will. I only say this as I believe a good horror says both genders can be shitty and twisted and one is not above the other in any way shape or form.
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Postby robersora » Mon Nov 02, 2020 6:02 pm

Arrival
Fascinating premise, well paced, very satisfying pay-offs, beautifully shot! Big recommendation! 8/10
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Postby kuribo-04 » Mon Nov 02, 2020 7:43 pm

View Original Postrobersora wrote:Arrival
Fascinating premise, well paced, very satisfying pay-offs, beautifully shot! Big recommendation! 8/10

I watched this one at the cinema with my brother. Villeneuve is just great.
The BR 2049 experience then surpassed it for me.
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Postby dzzthink » Fri Nov 06, 2020 3:54 pm

I just re-watched the curious case of benjamin button on Netflix, which is good if you have not seen it. The script was developed by the same guy who adapted Forrest Gump from the book and I can tell why. It's almost the same story and characters:

SPOILER: Show
guy experiences the extraordinary events in his time period, narrates the story in third person, raised solely by a mother figure after father abandons him, needs crutches as a kid, has the love of his life reject him multiple times but she keeps coming back, has a black friend, goes to war, works as a sailer with a crazy captain, goes traveling around the world at some point after mid-life crisis, has a son or daughter at the end who was brought up by the mother in his absence.

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Postby Line » Sat Nov 07, 2020 9:29 am

Last movie I watched was one of the many suites of Amytiville. The one with a blond woman who seemed too young to be a mother and her hubsand who is not the father of the childrens of a previous marriage. It was not the one I wanted to watch though. The one I wanted to see was with the boy Sony (Yes that's it's his name... :facepalm: :irked: ) and his incestuous sister (They've both wanted to bang each others, anyway :irked: ) whom event have quit marked me.And at some point the "HELP ME" mutilation in Sony arm when he is in a hospital bed (from my hazy memories of it.)

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Postby Dr. Nick » Fri Nov 20, 2020 7:52 am

Thunderbirds are GO (1966):
No wonder this thing bombed hard, it's like a stillborn Tales from the Thunderbirds Universe anthology film that abuses the three-act structure in pretty bold ways. The music video dream sequence is rad as hell though, and it demonstrates beautifully what Supermarionation could have been capable of had Gerry Anderson not been so driven by his boner for realism. And bonus points for making a children's movie that has an entire B-plot (D-plot?) about young Alan being blueballed by his brothers.

Air Strike (2004):
It's probably a safe bet to assume there's no such thing as a mockbuster that's better than the brand-name film it's exploiting, but this cheeky little number, directed by the Kickboxer helmer David Worth, comes pretty close to that unthinkable notion. Granted, it's not a mockbuster in the modern sense since it wasn't rushed out to exploit a concurrent big studio release; rather, it's a loving rip-off of a film over a decade older, David Green's 1990 Nic Cage / Tommy Lee Jones vehicle Fire Birds, which itself could be classified as a Top Gun rip-off. That film is not without its charms (how could it be with those leading men?), but it is badly aged trash where great actors get to mouth off lines like "Boy, you're gonna be busier than a three-peckered goat." Worth's film is trash remade as trash, so the playing field is surprisingly level. It obviously doesn't have the original's opulent budget and access to actual Apache helicopters, so it smartly leans on the stupid dialogue and cigar-chomping macho bullshit instead. And do I dare say it, in terms of scriptwriting it features some marked improvements over Fire Birds. For example, the original film did the Dunkirk thing where the main antagonist is this totally wordless, inhuman threat more reminiscent of a force of nature, which is perhaps artistic but really clashes with the loud and obnoxious overall tone of the movie. In Air Strike the big villain Ivan (a cartoonish version of the real-life war criminal Arkan) is a real character with some wondrously hammy villain moments with his bro named Chicago. Yes, the setting is changed from a made-up South American country to a made-up Eastern European country because it's cheap to film in Bulgaria, but the drug war plot is kept otherwise intact, which is just monstrously hilarious. Even after 9/11, it's the cocaine that's still the biggest danger to mom and apple pie.

Another thing I count as an improvement is the unambiguous centering of Robert Rusler's old dude character as the protagonist. Nic Cage is awesome, and Fire Birds was one of his earliest films where he really got to go shouty action Cage ("I am the greatest!"), but he seems like the wrong focal character when it's Jones who carries all of the pathos of the story. He's too old for this shit, the crack epidemic is a new and bewildering thing to him, and now he has to send young pilots to die against a threat that seems, as said, like a force of nature. Rusler's old badass is introduced late (and he's not even that old, really), but he's undoubtedly the biggest alpha of the bunch, and near the end he goes almost South Indian action hero on Ivan's men, dual-wielding AKs and lodging knives into people's foreheads before climbing back into the cockpit for a final aerial fight, which is just wholesale stock footage from Fire Birds. (An aside: how does one even get to use another movie as a source of stock footage when it's a different studio and/or production company? Is it just a matter of who's willing to sell their back catalog and their dignity?)
Any fans of Ayer's Suicide Squad will also be delighted to know that at one point Rusler gets saved by subversive continuity editing just like Captain Boomerang, and even some of the same items are involved!

It's also worth noting that while Air Strike is a very low-budget film, it's not cheap the same way The Asylum's films are. Sure, the flight scenes are recycled footage, with a sprinkling of not great CG choppers, but at ground level there are real gasoline explosions and squibs going off, and the real MVP effect of the film is the life-sized Apache mock-up used in the hangar scenes. The undercarriage is a bit of a giveaway that you're probably looking at a fiberglass shell on a pipe frame, but hey, an honest effort was made. And it has to be said that compared to its big-budget counterpart, Air Strike is the superior film in how it uses its filming location to its advantage. The nation of Petrovia is fleshed out through two brief but memorable scenes with members of the US-aligned government forces, and some news reports that carry big Soviet Strike FMV cut-scene energy. Fire Birds on the other hand is so uninterested about its big military conflict that it makes no effort to hide that the production never visited any place outside of Arizona.

Considering how terrible these bargain bin straight-to-video genre films can be, Air Strike is an upper echelon product. It's not boring like The Asylum's films or depressingly gringy like fat Seagal films. In its wilder moments it almost feels like a fan film that has escaped from some parallel universe wherein Fire Birds was this massive, generation-defining hit.


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