Last Movie You Watched

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Postby silvermoonlight » Thu Jun 06, 2019 4:11 pm

Let me in/Let The Right One In

I was enjoying this until I stumbled upon the original of Let the Right one in and realized that the US movie totality misunderstood the context and rewrote it as black/white vs many shades of grey.

SPOILER: Show
Which is what the original was getting at in that you can be brought up well but still turn killer and the fantastic idea that Oska is going to be a killer and is a bad person as that's already started despite a loving home where as Eli cries with remorse when she kills and feels terrible and is in reality a good person hence these two are in a way perfect for each.

The US cuts all this down so much it turns Eli (Now Abby) in to a clear groomer who is just your every day base vampire trope and Oska (Now Owen) in to this terrified kid who is not fit to be her guardian but is being slowly pushed in to it. It also turns Eli's guardian in to a creepy pedofile when in the original he's her minder and really cares about her but kind of knows his time is up but accepts it. The problem is they don't love each other and that the love she craves but it is with Oska.

The original also touches on Eli's gender which is a very interesting issue, but the remake turns this in to a little boy being a creep and watching a naked girl where as in the original it clearly shows Eli is a boy but his privates have been mutilated hence he feels its easier to just be a girl and its an interesting issue to touch on because its looking at the idea of gender and sexuality.

So yeah I recommend leaving the US remake and watching the original as that is just a better film overall
Last edited by silvermoonlight on Mon Jun 24, 2019 11:44 am, edited 1 time in total.
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Postby xtr00kvltcorex » Mon Jun 24, 2019 11:36 am

Boy Erased and The Phantom Menace for the first time in ages. CGI hasn't aged well, but it's a good romp of nostalgic camp.
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Postby FreakyFilmFan4ever » Fri Jun 28, 2019 7:15 am

I rewatched Godzilla (2014) just to get some more sweet non-Roland Emmerich American Godzilla goodness. I had forgotten how good that movie is. Sure, having seen a lot of different Godzilla movies and wanting to pin it in some kind of Showa/Heisei style typical "Monster vs" category, it can feel as though it's confused as to what it's trying to do with the premise, but it's actually more comparable to Ishiro Honda's 1954 Godzilla movie than it is anything else. Gareth Edwards' atmosphere lends itself greatly to the existentially devastating topic at hand. If an audience member is still just counting the frames in which Godzilla appears and saying "Look, he's not in that much of the movie," they're missing the point of this film and have probably missed the point of a lot of other Godzilla films. Gareth Edwards paints the entire planet as slowly teaming up against humanity. Mountains move in the background and reveal to the audience that the mountain was a giant creature the whole time, the anatomy of the newer monsters is strange and ungodly, almost creating a race of demons to be fought by the deity-like Godzilla, and Godzilla himself appears formidable in every scene he's in. This (and the original 1954 movie) is as close to a Cthulhu movie as you're going to get without any of the racism inherent in H. P. Lovecraft's work. The planet is out to get you, and there's nothing you can do about it.

I'll probably elaborate more in the Godzilla thread, but seriously, give this movie a second look. It's fantastic.

EDIT: It's a crying shame that Gareth Edwards hasn't directed since 2016. I know fanatical Star Wars idiots probably feel like they've won something with that, but SW hasn't been the highlight of anyone's directorial career since 1983, so I don't know what they were expecting and they're gonna (rightfully) lose their respect for entire franchise due to the weight of its own legacy. Edwards has said he's gone to focus on smaller-scale projects, but I can't even find a short film or a TV show episode with his name on it post 2016, and this makes me sad.

(To be fair, I haven't dabbled that much in film since the mid aught teens either due to stress and depression, and have only recently tried to get back on my game, so...)

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Postby Chuckman » Fri Jun 28, 2019 8:44 am

Edwards’ Star Wars entry was hands down the best of the new movies and arguably the only good one.
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Postby FreakyFilmFan4ever » Fri Jun 28, 2019 9:37 am

I agree. It's basically Battlefront: The Movie, making it a pretty good war movie, but in Star Wars. It has its faults, but I prefer the movie having more or less a self-contained arc, rather than just leaving it for someone else to make Snoke an interesting character or some shit. And it has some of the prettiest cinematography of any Star Wars movie of the past 20 years.

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Postby movieartman » Sun Jul 07, 2019 5:21 pm

The Conjuring (2013)
The Conjuring 2 (2016)

- Wilson & Farmiga are perfectly cast, the Warrens feel genuinely warm & comfy with each other and radiate it towards the people they are attempting to aid.
- Farmiga is lovely and quickly becoming one of my favorite actresses.
- Both films are more relentless, gritty and grounded then the original Poltergeist but it capture's that films tonal balancing of eerie horror while still emphasizing the likability & humanity of the family and investigators.
- 2 is better then 1 but both are full on great. 2 effortlessly expands upon the first as any good sequel should.
- Valak is a great villain and I look forward to watching The Nun prequel notably more then the Annabelle films.
- 2's handling of the original Amityville murders is well done.
- Madison Wolfe as Janet in 2 is great. She genuinely seems like a sweet kid turned victim being abused and never seemed like a creepy or weird kid whose bizarre tics are only being exaggerated by the force like in other possession movies.
- Can't think of anything negative or even nitpicky to say honestly.
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For the future of the Conjuring universe I hope...
- The Warren's don't get any kinda dark twist ending on how they died in real life.
- The samurai armor in the Warren's collection room gets a prequel movie set in Japan with a largely Japanese cast.
- We get a maritime ghost story movie set on a ship or foggy island. Maybe do a supernatural take on a Mary Celeste type abandoned ship story.

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Postby Dr. Nick » Sun Aug 18, 2019 2:52 pm

Warlock (1989): Babby's first satanic movie, in the best possible way. I remember how this thing blew my mind when I was 12 or so, and it still holds up. Likable, in many places genuinely well-written cheese.

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Postby SawItAtAge10 » Tue Aug 20, 2019 3:07 pm

View Original PostDr. Nick wrote:Warlock (1989): Babby's first satanic movie, in the best possible way. I remember how this thing blew my mind when I was 12 or so, and it still holds up. Likable, in many places genuinely well-written cheese.


Is that the one about magic crystals or something? I get confused on the movies...I know there's a showdown in a cemetery, but I haven't seen them in a LONG time...Not since I was a very little kid ha ha ha

But yeah, from what I recall they were super cheesy lolol
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Postby Dr. Nick » Tue Aug 20, 2019 4:01 pm

View Original PostSawItAtAge10 wrote:Is that the one about magic crystals or something? I get confused on the movies...I know there's a showdown in a cemetery, but I haven't seen them in a LONG time


The cemetery fight is in the first film, and the magic crystals are in the sequel, Warlock II: The Armageddon, which I just watched. Its plot is pure Disney monopoly: Julian Sands goes around collecting infinity stones and killing people in ironic ways, and the heroes are two Jedi academy kids.

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Postby SawItAtAge10 » Tue Aug 27, 2019 2:09 pm

View Original PostDr. Nick wrote:The cemetery fight is in the first film, and the magic crystals are in the sequel, Warlock II: The Armageddon, which I just watched. Its plot is pure Disney monopoly: Julian Sands goes around collecting infinity stones and killing people in ironic ways, and the heroes are two Jedi academy kids.



That sums up pretty much how I remember it ha ha ha You forgot the part where he rips a lady's scalp clean off lmao
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Postby robersora » Wed Aug 28, 2019 12:51 am

I've watched Burning, the Korean movie... And I have to say, never, ever have I seen the sensation of reading a Murakami novel having been captured better before.
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Postby fnikhall » Fri Aug 30, 2019 9:33 am

View Original PostFreakyFilmFan4ever wrote:It's a crying shame that Gareth Edwards hasn't directed since 2016. I know fanatical Star Wars idiots probably feel like they've won something with that, but SW hasn't been the highlight of anyone's directorial career since 1983, so I don't know what they were expecting and they're gonna (rightfully) lose their respect for entire franchise due to the weight of its own legacy. Edwards has said he's gone to focus on smaller-scale projects, but I can't even find a short film or a TV show episode with his name on it post 2016, and this makes me sad.


I totally agree. I really like what he did with Godzilla and I like his other films as well. I too would like to see him on other projects. Speaking of Edwards' Godzilla, I thought it had a lot in common with his earlier film "Monsters" which I enjoy a lot as well. Both films try and focus more on the human element of living in a world with these monsters which I think is a less explored idea in monster movies. If you haven't seen it I would highly recommend Monsters if you liked Godzilla.
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Postby Gus Hanson » Tue Sep 03, 2019 10:12 am

Watched Clue for the first time ever all the way through. It played out certainly in a splendidly wacky way with it being serious at first with the suspense and then when Wadsworth starts to unravel the mystery and the funny music starts playing, it lightens up the mood into well played comedy. I certainly didn't know until I looked it up in Wikipedia that during the theatrical screenings of the time, only one of the three endings would be played to confuse the audience as to which one was the real ending. Only on all home video releases do all three of the endings play together.
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Postby MuscleRobo » Tue Sep 03, 2019 12:32 pm

I didn't see Clue until a few weeks ago for the first time and I have to say Tim Curry was so amazing in it! He brings his absolute all in every role. I really enjoyed Gridman so I went back to look at him playing Khan Digifer in Superhuman Samurai syber Squad and he even really sold that role too!

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Postby Blockio » Fri Sep 06, 2019 5:49 pm

I just watched Sabotage (2014) and my god, that movie is a mess. It lacks most of the action that makes other Schwarzenegger movies enjoyable, the cast is thoroughly unlikely, and despite being really basic in and of itself, the story manages to be so confusing that I had to read a plot summary to get what was going on in some scenes.
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Postby Dr. Nick » Fri Sep 20, 2019 3:50 am

Blockers: John Cena is such a great comedy actor.

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Postby FreakyFilmFan4ever » Mon Sep 23, 2019 5:38 pm

I rewatched the Wachowskis' Speed Racer movie for the first time in a decade, and I'm here to tell you that it's better than the first Matrix.

The scripting is better. Most sci-fi or fantasy films tend to have the protagonist be clueless about his surroundings, playing a fish-out-of-water character for the first third/half of the film. (Think like Neo in The Matrix, or Frodo leaving the shire for the first time in Lord of the Rings.) The allows for the audience to learn about the films strange sci-fi or fantasy world along with the protagonist as they both progress through the movie. Speed Racer instead goes for the Jurassic Park method of character writing, where no single character is the fish-out-of-wather character. Instead, each character is an expert in their respective fields, and screenplay's author writes scenes that allow for these characters to relay their knowledge to one another for the benefit of both each other and the audience. Dr. Grant is an expert on prehistoric dinosaurs, Dr. Satler is an expert in prehistoric plant life, Dr. Malcolm is an expert mathematician "chaotician," Hammond is an expert in theme parks, Geraldo is an expert in the law, Muldoon is an expert game warden, and both Nedry and Lex are experts in computers. Each talk about (or otherwise demonstrate) their selective expertise, creating a sci-fi film where no one is the commonly seen ignorant protagonist. I see this as an innovation in sci-fi/fantasy writing, as it's not as common and builds upon the past forms of writing in order to present the audience something more sophisticated and clever. The Wachowskis accomplish something similar in Speed Racer, with the title character being an expert driver, his family being expert mechanics, and the villains being expert corporate businessmen, and their banter and antics throughout the film tells the audience all they need to know about these people.

The characters are also far more relatable. The sense of family bonds is very strong in this movie, and its portrayal is amazing and refreshing throughout the film. The editing is better paced. Unlike The Matrix, where the first half is kinda overstuffed with exposition and the last half is kinda overstuffed with actions, in Speed Racer both of these elements are better paced.The score is infinitely more memorable than The Matrix, with Michael Giacchino's magical retro sounds recognizable from The Incredibles utilizing the original Speed Racer score to perfection.

The only reason why it's a turn off to a lot of people is because audiences tend to reject the usage of Formalism in film art ever since the fall of the musical genre in the 50's, leaning instead towards the Neo-Realism that was introduced to American audiences through films like The Good, The Bad, and the Ugly, and was carried over into movies contemporary to Speed Racer, such as The Dark Knight. That's an okay reason to not like the movie, I guess, but it's a weak argument for why the movie is bad.

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Postby SawItAtAge10 » Fri Sep 27, 2019 3:05 pm

Here recently, I've seen:

Suspiria (2018)

It was very different from Argento's version form the 70s. While not a supernatural-based neo noir Giallo slasher film, this version ditched the overly stylized elements (this is not a knock against them, they are still wonderfully over the top and beautifully exploitative in the older work and stuff similar to it) in favor of something more organic and muted looking - epsecially for the setting of the ballet school where the witches have their secret coven.

Speaking of setting, the level of world building in this version is developed on a deeper level. The film makers here very pointed display that this version of Germany is right in the midst of the the East/West Berlin Wall conflict. This serves as a metaphor as the story delves further into the internal politics of the witches (and by extension the Three Mothers who are the head witches)themselves and a kind of internal conflict going within their inner circle.

Then, the we have our young, beautiful protagonist Susie. In the original, she was played up more as standard final girl going to the school, unraveling the mystery and fighting the monster/villain, etc. It was like Rosemary's Baby meets Halloween, but far more gory. colorful and exploitative than either of those combined.

Here, Susie plays a similar role as a young dancer from America (she was American in the original as well) trying to make her mark and impress the headmistress of the school (played by the incredible Tilda Swinton, who, incredibly, plays three roles in the movie!). So, that aspect gave me vibes similar to Nina in Black Swan. So, with the school, the witches and the how's/why's of the dancing playing a critical role in the villains' goals, femininity becomes a bigger focal point compared to the original. And the horror doesn't come from being so much a slasher as much just very strange, gruesome and straight up bizarre supernatural happenings done in their own exploitative way. Plus, Susie's original actress has a surprise cameo as a separate character that's pertinent to this story, and it's amazing.

Overall, I really liked this one. It was a remake that was more like an expansive re-imagining that doesn't rely heavily upon leeching off the original for the sake of cashing in on nostalgia. It's like the took the base elements: a young American girl, dance school in Berlin, and secret coven off witches and rebuilt their own architecture for the story in a way that they could just run with it and make it a fundamentally different beast all together. Now, I should say that I never thought much of Dakota Johnson (other than being impressed that she made fun herself on SNL a few years back), but here she was pretty amazing acting wise. Same goes for Tilda Swinton, is just exquisite here.



Final Girls


This was a fun meta horror film. It was basically a The Last Action Hero meets Pleasantville for cheesy 80s slasher films, with the obvious satire being that of Friday the 13th with the movie within this movie being called "Camp Blood" and having death fodder characters being obvious stereotypes of the kinds of characters from those movies. There plenty of other homages to the other works within the genre and "rules" to survive. But, unlike Scream the situation the characters find themselves in is more literal as they get physically sucked into the movie. So, the rules for surviving aren't so much genre-wide, as much as they are specific to the film they're in. And they play with this quite a bit to hilarious effect, such as waiting around for 90s minutes as things go by in a loop, credits rolling as physical objects and flashbacks literally changing the world around them into black and white.

The in-movie characters are over the top caricatures and played hilariously. And the outside characters are film nerds who know the movie itself very well and trying to survive. The main crux here is that the real world protagonist had lost her mom in a car accident (which the films opens with after showing a nice, happy relationship between them). As it turns out, her mother was a scream queen and she stars in the movie that they've gone to see - it's part of this sort of film festival nerd even thing where they're celebrating the anniversary of the films. So, she gets dragged along to do a potential Q&A afterwards. But, of course, she gets sucked in with her friends. And here, she runs into "her mother" but as the character in "Camp Blood." I was surprised with how much emotion weight that carries within the film to really elevate from just being pure meta comedy to something bit more endearing.

Overall, while the film has a PG-13 rating, I still found the movie to be very funny and just a lot of fun to watch. Nothing particularly, groundbreaking, but neat all the same.

Midsommar


Wow. Now, I'd seen Ari Aster's previous work, Hereditary and was utterly defeated and floored by it. And, I felt that this was right in the same level with how much tension there is, the emotional intensity/dread that proliferates all throughout, as well some very, very striking imagery. Ari seems to have a lack for mixing pagan symbolism, cults and trauma in a nice diabolical blend. And he also has the capacity to shock in the sense seeing certain parts in his movies where you it back for a moment and really think "Like, wow, that is super fucked up." And, thaw as the feeling I'd walked away.

Granted, I've seen movies with a similar vibe such as Hostel, The Sacrament and The Green Inferno, but compared to those, there was a deeper level of subjectivity for the protagonist and her journey within in this situation she finds herself in...Ari pulled the same punches with Toni Colette's character in Hereditary, but the effect here is very different as is the story. All the same, A24 seems to have become this kind of powerhouse wherein they've created these consistently good movies where there's the really dark situations. And, the emotional weight on the characters becomes a central core to the drama as things go through a slow burn and gradually escalate. This can be seen with Ex Mahcina, It Comes At Night, The Witch, Hereditary and now Midsommar.

Overall, this movie defiantly leaves an impression, even if its main conceit has been done elsewhere (The could be said of Hereditary, but that's pretty much where the comparisons stop).I think for Ari, it has more to do with his style (and excellent level of research as the Nordic paganism (while still a bit of a pastiche from different eras) is accurate in its depictions of symbols, rituals and meaning. Basically, it all boils down to his approach in that a pagan cult film could've easily devolved into something more akin to a torture porn film. Which, while still fun, wouldn't necessarily have the same kind psychological punch.

One other thing I forgot to mention is that much of the plot relies heavily on the characters taking hallucinogenic drugs, and there are some very surreal looking parts that reminded me of the movie Annihilation.
FROM EVANGELION:
"Acts of Man are greater than acts of God!"

"I'm saying that I love you."

NOT FROM EVANGELION:
"You are excrement. You can change yourself into gold."

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Postby silvermoonlight » Mon Oct 07, 2019 3:52 pm

The predator (2018)

I'm not even going to give this a review other than to say don't watch it if you love the franchise and love the golden days of predator, predator 2 and AVP watch those instead or go read the dark horse comics, don't give this piece of shit your time or effort I had to because someone else wanted to see it and it was not fun...

SPOILER: Show
Sad part is the effects on this are good and the scene where the predator escapes is really awesome watching despite the female scientist getting naked for zero real reason other than we need to show naked woman in this movie because ratingss and I confess I found myself laughing at the scene where the kid in the predator helmet kills a guy who throws a rock at him by blowing him away and I know its really bad to laugh at this I even said on this forum this is bad because it screws up how we look at autism, but you find yourself doing so because the film is just that bad you want to find moments to release yourself from the pain even though there fucked up because its that hard to watch...
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Postby pwhodges » Fri Oct 11, 2019 4:31 pm

My wife and I just watched The Favourite. Between us we could not think of any reason for the film to exist. Sure, the famous names showed great talent in appearing to make something of the nonsense they were given, but in the end it still all added up to nothing.
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