Last Movie You Watched

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Ray
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Postby Ray » Mon Aug 04, 2014 8:41 pm

Kurosawa Throne a of Blood.

That Final Scene with Mifune desperately attempting to escape the barrage of Arrows fired at him is equal parts satisfying, and heartbreaking.

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Postby Trajan » Mon Aug 04, 2014 11:24 pm

View Original PostRay wrote:Kurosawa Throne a of Blood.

That Final Scene with Mifune desperately attempting to escape the barrage of Arrows fired at him is equal parts satisfying, and heartbreaking.


It is without doubt one of the greatest death scenes in movie history. Final chorus scene gives me chills just thinking about it. Don't really see the heartbreaking angle though considering how much of an amoral asshole he turned into by the end.

It's such a perfect adaptation.
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Postby BrikHaus » Thu Aug 07, 2014 2:05 pm

American Psycho - 5 out of 5 chainsaw-murdered hookers.

Great watch.
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Postby Sailor Star Dust » Fri Aug 08, 2014 12:43 am

Angry Nerd, Angry Nerd. Rather suck on a frozen turd.

Absolutely hilarious film. I wrote my thoughts here. 10/10 for the comedy alone, considering it definitely has B-movie elements. :lol:
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Postby Trajan » Fri Aug 08, 2014 12:56 am

Modern Times

Chaplin is a genius. From a sheer comedic standpoint, this is his greatest achievement.
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Postby Oz » Fri Aug 08, 2014 9:31 am

I have watched a bunch of films since the last time I posted in this thread, but I'm too lazy to write about all of them. Instead, here are my thoughts on the few films I have watched most recently.

Hiroshi Teshigahara's Antonio Gaudi: Imagine over 70 minutes of nothing but footage of weird buildings (designed by Gaudi and those inspired by him) accompanied by classical music and you have Antonio Gaudi. The Japanese New Wave director Teshigahara loves Gaudi's work and wanted to make a film about his work. While I am somewhat curious about architecture I found my concentration moving away from the film after the first 30 minutes. Since there is no voiceover (apart from one interview about Sagrada Familia at the end) or other cinematic means used by documentary films, it is really up to the viewer to really dig it or just be frustrated with it. I'm not sure how I should evaluate Antonio Gaudi as a film - heck, I don't even know whether I should even consider it one. It should be invigorating for someone interested in architecture and Gaudi, but offers too little for everyone else.

Ryuichi Hiroki's River: Hiroki is one of the most fascinating contemporary Japanese directors, but he has yet to make a clear masterpiece - Vibrator was not one and River is not either even though both of them are quite good. Hiroki's distinquishable directorial style is welcome in an era of Japanese directors that don't have their own trademarks. In River, his style is brought to its extreme: the whole film is shot with calm handheld camerawork that delves into long takes. In River's case, the long takes test the audience's patience in a few cases, but the style is perfect for a story about death, loss and acceptance. The film is structured around the protagonist wandering around in Akihabara three years after losing her boyfriend in the Akihabara massacre. The film takes its time to reveal the protagonist's past and feelings, but it works quite well. Her each encounter opens up a new side of her: whether it is talking with a photographer, working at a maid cafe or meeting a man who happens to be going through a similar phase as her. River is very much a mood piece, but it doesn't quite reach the heights it could have.
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Postby Ray » Sun Aug 10, 2014 11:41 pm

The Adventures Of TinTin:

A great humorous and very underrated comic book movie, with as much charm and Spectacle of any Spielbergs other works. And Andy Serkis steals the show as the lovablu drunken Archibald Haddock.

I hope they make a sequel someday, but Andy Serkis is so preoccupied doing mo capped acting for so many other films, it'll probably be at least a few years, if at all.

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Postby movieartman » Mon Aug 11, 2014 2:08 pm

FREEDOMLAND (2006)
trailer - https://www.youtube.com/watch?v=aCy6_bgJ6-k
powerfully distraught acting from moore.

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Postby Trajan » Mon Aug 11, 2014 11:16 pm

Over the past few days, I've seen the following:

Dazed and Confused - Worth seeing for it's authenticity in the sense that it actually feels like this is the last day of High School. And Matthew McConaughey. Alright, alright, alright.
Moonrise Kingdom - Cute film and Edward Norton gives a great performance. Doesn't quite compare to Wes Anderson's best work though.
Guardians of the Galaxy - This is probably the closest to a live action Cowboy Bebop we'll ever get. So if you like Bebop, you'll probably like this.
Captain Phillips - Intense. And the acting is incredible. Barkhad Abdi is really amazing but Faysal Ahmed doesn't get nearly enough recognition for his role as Najee.
Videodrome - Cronenberg's best Canadian film and still very relevant today; just replace TV with the Internet.
Jurassic Park - Spielberg has made about four perfectly entertaining films. This is one of them. Almost everyone has seen it at some point, so really, nothing more needs to be said.
Inglorious Bastards - Hans Landa, Aldo Raine and Archie Hicox are great. Never could get invested in Shoshana's storyline though, especially seeing how she ultimately contributes next to nothing to the resolution of the film.
Gattaca - Intriguing premise, but the film plays it a bit too safe for my liking. Could have been great, instead I'll probably forget about it in a week or so.

.......I really need to get back to college.
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Postby Oz » Tue Aug 12, 2014 12:03 am

View Original PostTrajan wrote:Moonrise Kingdom - Cute film and Edward Norton gives a great performance. Doesn't quite compare to Wes Anderson's best work though.

Although it has been a long time since I have seen The Royal Tennenbaums I found myself preferring Moonrise Kingdom to it. Moonrise Kingdom builds its own world and atmosphere so thoroughly and cleverly that I can't help but praise it. Seeing it in a theater was a blast.
"I'd really like to have as much money as you have, Oz" - robersora
"No you wouldn't. Oz's secret is he goes without food to buy that stuff. He hasn't eaten in years." - Brikhaus

"Often I get the feeling that deep down, your little girl is struggling with your embrace of filmfaggotry and your loldeep fixations, and the conflict that arises from such a contradiction is embodied pretty well in Kureha's character. But obviously it's not any sort of internal conflict that makes the analogy work. It's the pigtails." - Merridian
"Oh, Oz, I fear I'm losing my filmfag to the depths of Japanese pop. If only there were more films with Japanese girls in glow-in-the-dark costumes you'd be the David Bordwell of that genre." - Jimbo
"Oz, I think we need to stage an intervention and force you to watch some movies that aren't made in Japan." - Trajan

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Postby Squigsquasher » Tue Aug 12, 2014 3:30 pm

Watched a few movies recently.

Django Unchained was a standard Tarantino flick, and by that I mean extremely enjoyable. Jamie Foxx was pretty good, and Leonardo DeCaprio was wonderfully loathsome. It also had some of the best gun-fu I've seen in a while- the Candyland showdown was to gunfights what the Crazy 88 battle from Kill Bill was to sword fight.

So yeah. I loved it.

VERDICT: Totally unchained.


Collateral was another movie starring Jamie Foxx, and also very good. It had just the right mixture of action, intrigue, drama and character development to be interesting and quite thoughtful without being slow. Tom Cruise was good, as usual.

Definitely enjoyed this one.

VERDICT: Can't think of a pun/reference here. It was good.
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Postby Gus Hanson » Tue Aug 12, 2014 7:18 pm

Ong-Bak: The Thai Warrior

Tony Jaa's martial arts film from 2003 hits hard in all the right places with it's Muay Thai martial arts fights and chases reminiscent of Jackie Chan but do I really need to be reminded of the awesomeness with slow motion, different angles at two takes after the stunt is over?! As for the ending, I can say it's happy but it still contained a touch of bittersweet to make it a top tier quality movie. I hope the two prequels are infinitely better in that respect.

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Postby Ray » Tue Aug 12, 2014 7:26 pm

Tony Jaa is a freaking badass! No wires, no cgi, no punches pulled. He's the Bruce Lee of our generation. When he lights his own feet on fire and kicks someone with them, that's real fire.

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Postby Oz » Wed Aug 13, 2014 4:03 am

Buster Keaton's Sherlock Jr: This immediately turned into my favorite Keaton film: it's full of genius visual trickery and creative sequences. Even to this day the film theater sequence in which Keaton steps into the movie has to be one of the most brilliant and clever visual tricks ever pulled off in cinema. Even though the long train chase sequence in The General was damn amazing and creative, Sherlock Jr pulls off even more darning sequences even if on a smaller scale (and most likely with a smaller budget).

Buster Keaton's Steamboat Bill Jr: I was sure I had not seen this Keaton film before, but I had to check my IMDB profile after seeing the first 10 minutes because the film felt so damn familiar. And it did turn out that I had seen this film almost 4 years ago and this time I liked it even more. In comparison to Sherlock Jr, Steamboat Bill Jr has less straightforward laughs and more epic setpieces with dangerous stunts. In that regard, it is much closer to The General which seems to be the most revered film that Keaton ever made. I personally prefer the happy-go-lucky silliness and visual trickery to Steamboat Bill Jr's drama and crazy stunts, but both of them are masterpieces nonetheless.

Leo McCarey's Duck Soup: Figuring that as a big fan of Buster Keaton and Charlie Chaplin I should check out the films of the Marx brothers and started with their most famous film. Their style of lightning fast dialogue with random wackiness and musical numbers is not exactly my thing - sometimes it works and sometimes it doesn't. Nevertheless I can see that Duck Soup is certainly a masterpiece of this kind of humor with superb performances from the brothers and memorable characters.

Sion Sono's The Land of Hope: I'm getting increasingly fed up with Sono. I am beginning to believe that he doesn't really understand what he is doing. His sense is becoming more and more questionable. His decision to make an "optimisic" film about Fukushima (just because he wants to be a hipster) is questionable in itself, but the idea could still work if Sono hadn't not completely screwed it up. Sono has traded his trademark grimdarkness (which is both his charm and his biggest problems) for cheap and schmaltzy melodrama that occasionally borders on unintentional comedy gold. He clearly attempts to explore the different attitudes towards nuclear power in Japan, but the film keeps changing its stance and ends up nowhere (which is clearly not Sono's point as he invests so much emotion into some sort of rebellion against nuclear power). What makes this melodrama even weirder is that Sono has also given up on his chaotic, hyperactive visual style and instead films The Land of Hope almost entirely with still and calm shots. By amping up the melodrama of the writing and acting and restraining the form at the same time Sono destroys the drama value the film SHOULD have. You can't make a Fukushima film in which the paranoia surrounding nuclear plants comes off as laughable. Mix in a completely random supernatural metaphor, a sidestory that doesn't matter at all in the end, a character with Alzheimer's disease, a nonsensical ending in which the 4th wall is broken and you have a enormous failure in your hands.

tl;dr version: I've had enough of Sono and am not going to watch more of his films unless someone can really convince me otherwise.
"I'd really like to have as much money as you have, Oz" - robersora
"No you wouldn't. Oz's secret is he goes without food to buy that stuff. He hasn't eaten in years." - Brikhaus

"Often I get the feeling that deep down, your little girl is struggling with your embrace of filmfaggotry and your loldeep fixations, and the conflict that arises from such a contradiction is embodied pretty well in Kureha's character. But obviously it's not any sort of internal conflict that makes the analogy work. It's the pigtails." - Merridian
"Oh, Oz, I fear I'm losing my filmfag to the depths of Japanese pop. If only there were more films with Japanese girls in glow-in-the-dark costumes you'd be the David Bordwell of that genre." - Jimbo
"Oz, I think we need to stage an intervention and force you to watch some movies that aren't made in Japan." - Trajan

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Postby Ray » Wed Aug 13, 2014 1:28 pm

Duck Soup may be their most well known. But a Night At The Opera is their best movie bar none.

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Postby Gus Hanson » Fri Aug 15, 2014 12:28 pm

Tekken 2: Kazuya's Revenge

Had such a weak premise that not even Kane Kosugi kicking ass like a boss can save it from drowning in the creek despite it being just a wee step above the first one.

Ong-Bak 2: The Beginning

A hundred times more intense than it's predecessor, Tony Jaa shines through as a true warrior slashing down whomever's in his path. This time the slow motion is put to good use in the right moments of the finishing moves in each combat sequence rather than replaying it three times.

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Postby Gendo'sPapa » Fri Aug 15, 2014 7:13 pm

Saw Richard Linklater's BOYHOOD a second time. Aside from the last five or so minutes it's really a powerful & emotionally real picture! One of the best of the year!

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Postby StarShaper7 » Fri Aug 15, 2014 9:08 pm

Being John Malkovich

This movie's weird, man. It starts out weird with the 7 and 1/2 floor thing and the characters themselves are different varieties and levels of eccentric. It gets even weirder with the portal into Malkovich's mind and there's that immortality stuff. It gets even crazier from there.

I did like this movie. Ultimately I'd say it's about learning to love yourself and trying to live a good life on your own, instead of indulging yourself in the fantasy of living life through another (sometimes literally).

7/10

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Postby Oz » Sat Aug 16, 2014 6:36 am

Shinji Aoyama's Eli, Eli, Lema Sabachthani?: A film about a future in which a suicide epidemic rages around the world and the only thing that can heal the victims of the epidemic is the music of a noise musician played by Tadanobu Asano. The scenario is quite unique and fascinating, but the screenplay is cryptic to the point that it is pretty much impossible to understand the causality of the events. Yet I somehow have a hard time criticizing the film too roughly as I enjoyed the mysterious atmosphere and Aoyama's fantastic direction. Watching the film was not only fascinating but weirdly satisfying even though I could make a long list of the major flaws that completely destroy whatever profound purpose the film may have had.

Kiyoshi Kurosawa’s The Serpent’s Path: Kurosawa was asked to shoot 2 films in 2 weeks in the late 90’s, one of those film was The Serpent’s Path and the other, Eyes of the Spider. The Serpent’s Path is practically a B action film with a convoluted revenge plot that is mixed with Kurosawa’s meandering and surreal style. What initially looks like a straightforward revenge film builds up into a pretty hypnotizing experience, but in the tradition of good revenge films it does have its own clever twist. The film’s gradual narrative exposition works wonders as it gives the film a fitting, mysterious atmosphere and the ending wouldn’t leave an impact without it. However, the film seems like a tad rushed product with the first half being a bit too unfocused and the meaning of the very final scene remains unclear: was it supposed to hint at something previously unreleased, was it supposed to just be a repetition or something completely different?

Kiyoshi Kurosawa’s Eyes of the Spider: Eyes of the Spider makes for an interesting double bill with The Serpent’s Path for sure. If watched after The Serpent’s Path, the film’s beginning cheats the viewer in a very clever way, making it seem like it will be a revenge film with a very similar plot only to turn the situation over. Instead it is more of a mood piece with a focus on thematics - although the plot is somewhat convoluted even in this film. It is the film of a man who is haunted by his past and ends up joining a gang. Kurosawa’s storytelling is pure genius - his uses of ellipsis give the film very unique atmosphere and pace. I was pleasantly surprised by the film since I was under the impression it was supposed to be the weaker one of the two films, but I found it much better than The Serpent’s Path. It was a perfect mood piece that didn’t try to have a clever plot. Eyes of the Spider reminds me a lot of The Cure in a good way even though the genre is different. If anything, this film made me want to see more of Kurosawa’s films from the 90’s as they are quite different to his more recent output, like Tokyo Sonata.
"I'd really like to have as much money as you have, Oz" - robersora
"No you wouldn't. Oz's secret is he goes without food to buy that stuff. He hasn't eaten in years." - Brikhaus

"Often I get the feeling that deep down, your little girl is struggling with your embrace of filmfaggotry and your loldeep fixations, and the conflict that arises from such a contradiction is embodied pretty well in Kureha's character. But obviously it's not any sort of internal conflict that makes the analogy work. It's the pigtails." - Merridian
"Oh, Oz, I fear I'm losing my filmfag to the depths of Japanese pop. If only there were more films with Japanese girls in glow-in-the-dark costumes you'd be the David Bordwell of that genre." - Jimbo
"Oz, I think we need to stage an intervention and force you to watch some movies that aren't made in Japan." - Trajan

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Postby NemZ » Sun Aug 17, 2014 9:06 pm

I saw Killer Joe tonight. Fucked up southern crime drama, reminded me quite a bit of True Detective because McConaughey is in it as a cop but there's no great rants about the pointlessness of everything. Acting was pretty decent but the plot was stretched thin and basically revolved around shock moments that didn't really shock me at all. Not sure why this is labeled as a black comedy, honestly... maybe trying to get around the fact that it just isn't plotted well enough to call it a thriller and the charecters are too shallow to make a decent drama. Still, it's entertaining.
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