Film The Redcafe Movie review thread

[Wing Attack Plan R]

I had a J.K. Simmons weekend it seems.

That's normally a good idea, but I actually watched The Union, which proved that concept wrong. It's a new action film on Netflix about a secret ops outfit called The Union, which is led by Simmon's character and also features Halle Berry. After an op has gone horribly wrong, Berry recruits her high school sweatheart (Mark Wahlberg), who they think is an outsider that can be trained relatively quickly and is sufficiently unkown to complete a simple job. Or something like that. That plot quickly goes out the window, as Wahlberg within minutes is basically just another team member and we have a regular spy action film. Except everything just falls flat: things are teed up for a nice line or scene, and it's just off and is instead poor and frustrating. Simmons is also criminally underused: he is unable to use any of his charisma and instead mostly has to provide lame bits of exposition without bite or humor. There's some fun in it though, but 2/5 is probably still flattering.

Then Whiplash, Damien Chazelle's 2014 psychological drama about a jazz dummer (Miles Teller) who joins a famous New York conservatory. He desperately wants to join the conservatory's band and become an all-time great, but the bandleader (Simmons) is a kind of sadist who mentally tortures his students when they show any inadequacies. It's for the most part a great story that works really well - even if I felt the development towards Teller's breakdown (the stages leading to the car crash) was a little hurried. Simmons in particular, but also Teller, are great in it, and while it's mostly a more 'plain' film than Chazelle's subsequent work, there's some of his flair in the band scenes, especially the final performance of Caravan, which is a great scene. The only thing I was thinking was -

Spoiler

what have we learned? That Fletcher was right, and his sadism brought out Neiman's greatness? Surely not, that would be a terrible perspective to take. I would rather like to think that it was Neiman's step back from Fletcher's regime that allowed him to breath and find his health drive and creativity back; but that doesn't work with the reunion with Fletcher and both of their excitement at the very end. I know films don't have to end clearly or in a way I like, but I feel Fletcher's fall from grace doesn't happen the way it should have.

But yes, a very strong film. 4/5

The Union sounds like a skit on Saturday Night Live. That cast just sounds so awful together. Simmons and Berry both have Oscars which is crazy, but what's crazier is that for a number of years Walhberg was the highest paid actor in the world. The mind reels.

Whiplash was interesting only for the editing and the final performance, for me. The story would have made more sense if it was set 40 or 50 years ago when teachers could get away with that shit. Simmons chewed the scenery. That final performance was sensational though.

 

[Ish]

Trap

The latest mind diaroeah from Cinema's biggest hack. You'll often hear people say "switch your brain off" to enjoy a film but you could pull your brain out through your ear with a corkscrew, stick it in a blender and then spread it on toast like pate before gobbling it back up and this would still be an insult to your intelligence.

I'll give him credit, he does come up with ideas that nobody else would even think about but at some point you have to question why that is and who is facilitating this clearly very troubled individual.

Josh Hartnett is shit as well.

The only time that excuse holds water is when it's a movie for very young children, literally just pretty pictures and cute sounds not meant to do anything but divert a child and give a parent 90 minutes of rest. Or something that on its face is like a live-action cartoon, a Pacific Rim, or a Godzilla movie. But M Night does not make spectacle like that, he thinks he's a brilliant plotter and storyteller, and that's why his movies are so infuriating. I remember someone recommending "Signs", and I had avoided it for like a decade. Figured there were going to be a couple interesting moments relating to crop circles and aliens, decided to watch it -- holy fecking shit, that was the dumbest movie I've ever seen. Just insulting and nonsensical. I saw it after "The Village", which previously held the title of Dumbest Movie. Secret's out about this guy, how can anyone watch his garbage anymore?

There’s several parts of that film that annoyed me, but the most egregious was

Spoiler

When he was in the back of the police van with absolutely nobody watching him.

M casting his own daughter was annoying too, given that she’s really not good at acting.

Bad news for you all - he has another daughter iirc, Ishana Shyamalan, who’s at it (Directing) as well - she directed a recent movie called “The Watchers” - very much in his style! So strap in for a few more years, if not decades, of this.

 

[UnrelatedPsuedo]

I'm glad Borderlands tanked. The hubris involved with that project was Olympian. A friend of a friend worked on the movie, and the director was a complete lying weasel to him, lied to his face, then fired him. Hopefully Eli Roth gets placed in Director's Jail with no parole.

I know someone that worked on the junkets. By all accounts, every actor I bounced knew they were selling a turd and acted accordingly. Many of them were just flat out rude. Which sounds shit, but I guess if you work on something and then realise months of effort has resulted in something that bad.

 

[Twins]

Bad news for you all - he has another daughter iirc, Ishana Shyamalan, who’s at it (Directing) as well - she directed a recent movie called “The Watchers” - very much in his style! So strap in for a few more years, if not decades, of this.

I actually watched it this week and it was pretty bad. The story was ridiculous, the acting wooden and the twist (of course there had to be a twist) could be seen from a mile away.

I could also dive into the ending but I was mainly glad that it ended at all.

 

[Ish]

I actually watched it this week and it was pretty bad. The story was ridiculous, the acting wooden and the twist (of course there had to be a twist) could be seen from a mile away.

I could also dive into the ending but I was mainly glad that it ended at all.

Yeah it wasn’t great either, was it? Could’ve sworn he wrote and directed it himself as well

 

[Sweet Square]

Inside The Yellow Cocoon Shell

Beautiful slow meditative film about dealing with loss and the role religion plays. It’s a 3 hours of slow cinema with some very long takes. Probably a bit of a slog in one sitting. I ended up watching it throughout the day(The best way to view these types of films imo).

There’s a reference to Solaris and at times the film has a Tarkosky mystical vibe. The film never really gives any answers. Very impressive considering this is Pham Thien An first film.

9/10

 

[Bilbo]

I didn't really like Whiplash as much as everyone else seems to. It's an interesting film but I felt the plaudits were over the top.

"Again!"

In my opinion, Whiplash received unwarranted praise from the critics. I suspect it was a quiet year for cinema and there wasn't much to write home about, so they lavished praise on this film because it was a bit different.

"Again!"

Whiplash, while seeming to appear novel in its approach to the subject of psychological bullying, borrows heavily from every war movie ever produced that shows soldiers being drilled in boot camp.

Individuals who enter the 'programme' somewhat willingly but soon find the physical and mental toll too much to bear? Check. Unflinching, unweilding, unfeeling instructors seemingly hell-bent on a Darwinist 'survival of the fittest' approach and indifferent to the suffering they impose upon their underlings? Check. A story arc that begins with wide-eyed idealism and ends with dead-behind-the-eyes automatons, their very souls crushed by the brutality of the journey they have embarked upon, their only raison d'etre being the unquestioning obeyance of their new master? Check.

Whiplash? Full Metal Jacket with drums, mate.

"Again!"

Hegel's Master-Slave dialectic describes the relationship between two individuals - the 'master' and the 'slave'. Simply put, the master seeks to dominate the slave but lacks self-awareness. Though in a position of superiority, they are unaware that their exalted position is wholly reliant on the labour of the slave who, ultimately, does achieve a state of enlightenment and overthrows the master.

There are many interpretations of Hegel's dialectic, and critics claim this was intentional, as his language was often vague. In my opinion, Hegel was showing that innovation comes 'from below'. What do I mean by that? Well, to use a parable, the master lives in a big house on a hill and he has a bunch of slaves who toil in the fields at the bottom of the hill, and their job is to till the soil, plant the crops, harvest them and provide the master with food.

The slaves begin by digging with their hands. Back-breaking, exhausting work. One day, they're sitting under a tree taking a break, chatting away, when one of them picks up a stick and starts idly digging at the ground. Another notices this and declares that it looks a lot easier than digging with their hands, so they all grab sticks and start feverishly tilling the soil in the fields, their burden slightly alleviated. The slaves quickly realise that long branches, with broad bases, make the best digging implements, and we can imagine the refinement process over time eventually leading to the invention of the hoe and the spade.

On another occasion one of the slaves ties a stick to a dog's tail and the dog runs across the fields, yelping in terror, much to the amusement of the slaves. But, again, one of their number sees opportunity and points out to the others that the stick is dragging up soil. "Ah!" says his friend, "but the dog is running haphazardly. We need to dig the soil in neat rows. Ten dogs with ten sticks would disturb a lot of soil but it would be a mess."

"Why don't we use that?" asks the first slave, pointing to an ox. "It won't run around like crazy and we could lead it up and down the fields as we like. Plus, I think we could attach 5 huge branches to its back and get the job done in no time!" And so, with future refinements occurring like we saw with the sticks, begins the origins of the plough.

All this time, the master is sat in his big house on the hill. Indifferent to the suffering of the slaves, ignorant of the innovation and progress that is happening far below. His only concern is the end result: food. He doesn't realise that he offers nothing except cruelty and punishment for failure to produce the crops. He doesn't grow, he stagnates. He is not enlightened.

The J. K. Simmons' performance in Whiplash is universally lauded, and he does indeed play an inhumane, brutal jazz band leader really well. Similarly, Miles Teller's portrayal of a talented drummer with a desire to be 'great', unaware of the standards set by Simmons and the lengths he will go to to achieve them, is also excellent.

I mean, it's a good film - don't get me wrong - but it's basically Hegel's Master-Slave dialectic set to a jazz score, mate.

"Again!"

Fvck off!

Not quite my tempo

 

[Wing Attack Plan R]

I actually watched it this week and it was pretty bad. The story was ridiculous, the acting wooden and the twist (of course there had to be a twist) could be seen from a mile away.

I could also dive into the ending but I was mainly glad that it ended at all.

This review can be copied and pasted to any film with the Shyamalan name on it, père or fille.

 

[Wing Attack Plan R]

Inside The Yellow Cocoon Shell

Beautiful slow meditative film about dealing with loss and the role religion plays. It’s a 3 hours of slow cinema with some very long takes. Probably a bit of a slog in one sitting. I ended up watching it throughout the day(The best way to view these types of films imo).

There’s a reference to Solaris and at times the film has a Tarkosky mystical vibe. The film never really gives any answers. Very impressive considering this is Pham Thien An first film.

9/10

Are you a fan of Italian neo-realism?

 

[Hugh Jass]

I didn't really like Whiplash as much as everyone else seems to. It's an interesting film but I felt the plaudits were over the top.

"Again!"

In my opinion, Whiplash received unwarranted praise from the critics. I suspect it was a quiet year for cinema and there wasn't much to write home about, so they lavished praise on this film because it was a bit different.

"Again!"

Whiplash, while seeming to appear novel in its approach to the subject of psychological bullying, borrows heavily from every war movie ever produced that shows soldiers being drilled in boot camp.

Individuals who enter the 'programme' somewhat willingly but soon find the physical and mental toll too much to bear? Check. Unflinching, unweilding, unfeeling instructors seemingly hell-bent on a Darwinist 'survival of the fittest' approach and indifferent to the suffering they impose upon their underlings? Check. A story arc that begins with wide-eyed idealism and ends with dead-behind-the-eyes automatons, their very souls crushed by the brutality of the journey they have embarked upon, their only raison d'etre being the unquestioning obeyance of their new master? Check.

Whiplash? Full Metal Jacket with drums, mate.

"Again!"

Hegel's Master-Slave dialectic describes the relationship between two individuals - the 'master' and the 'slave'. Simply put, the master seeks to dominate the slave but lacks self-awareness. Though in a position of superiority, they are unaware that their exalted position is wholly reliant on the labour of the slave who, ultimately, does achieve a state of enlightenment and overthrows the master.

There are many interpretations of Hegel's dialectic, and critics claim this was intentional, as his language was often vague. In my opinion, Hegel was showing that innovation comes 'from below'. What do I mean by that? Well, to use a parable, the master lives in a big house on a hill and he has a bunch of slaves who toil in the fields at the bottom of the hill, and their job is to till the soil, plant the crops, harvest them and provide the master with food.

The slaves begin by digging with their hands. Back-breaking, exhausting work. One day, they're sitting under a tree taking a break, chatting away, when one of them picks up a stick and starts idly digging at the ground. Another notices this and declares that it looks a lot easier than digging with their hands, so they all grab sticks and start feverishly tilling the soil in the fields, their burden slightly alleviated. The slaves quickly realise that long branches, with broad bases, make the best digging implements, and we can imagine the refinement process over time eventually leading to the invention of the hoe and the spade.

On another occasion one of the slaves ties a stick to a dog's tail and the dog runs across the fields, yelping in terror, much to the amusement of the slaves. But, again, one of their number sees opportunity and points out to the others that the stick is dragging up soil. "Ah!" says his friend, "but the dog is running haphazardly. We need to dig the soil in neat rows. Ten dogs with ten sticks would disturb a lot of soil but it would be a mess."

"Why don't we use that?" asks the first slave, pointing to an ox. "It won't run around like crazy and we could lead it up and down the fields as we like. Plus, I think we could attach 5 huge branches to its back and get the job done in no time!" And so, with future refinements occurring like we saw with the sticks, begins the origins of the plough.

All this time, the master is sat in his big house on the hill. Indifferent to the suffering of the slaves, ignorant of the innovation and progress that is happening far below. His only concern is the end result: food. He doesn't realise that he offers nothing except cruelty and punishment for failure to produce the crops. He doesn't grow, he stagnates. He is not enlightened.

The J. K. Simmons' performance in Whiplash is universally lauded, and he does indeed play an inhumane, brutal jazz band leader really well. Similarly, Miles Teller's portrayal of a talented drummer with a desire to be 'great', unaware of the standards set by Simmons and the lengths he will go to to achieve them, is also excellent.

I mean, it's a good film - don't get me wrong - but it's basically Hegel's Master-Slave dialectic set to a jazz score, mate.

"Again!"

Fvck off!

Were you rushing or were you dragging?

 

[Dirty Schwein]

I'm glad Borderlands tanked. The hubris involved with that project was Olympian. A friend of a friend worked on the movie, and the director was a complete lying weasel to him, lied to his face, then fired him. Hopefully Eli Roth gets placed in Director's Jail with no parole.

He seems to have too many high profile friends in the business for that to happen. I don't think I've enjoyed 90% of what he's made though. What a hack.

 

[caid]

He seems to have too many high profile friends in the business for that to happen. I don't think I've enjoyed 90% of what he's made though. What a hack.

10% of his movies being enjoyable sounds far too high. I'm definitely not going to test that theory though.

 

[CassiusClaymore]

I actually watched it this week and it was pretty bad. The story was ridiculous, the acting wooden and the twist (of course there had to be a twist) could be seen from a mile away.

I could also dive into the ending but I was mainly glad that it ended at all.

What actually was the twist? I genuinely don't remember one.

A good twist for this cnut would be thinking "that was a good movie" when the credits roll.

 

[CoopersDream]

I watched Trap, and it wasn't even good bad. This time he didn't even come up with a good idea, and it just went nowhere interesting for the entire runtime. Sh!t on a stick, and not particularly entertaining either. 3/10

I also watched the latest (last?) Woody Allen film, and it was quite a pleasant film, if very familar. Some genuinely funny moments, quite well acted and I liked the ending. Nothing ground breaking, but I'd suspect if one likes Allen's films (which I do) one would very likely enjoy this film. 7/10

 

[sullydnl]

I had a J.K. Simmons weekend it seems.

That's normally a good idea, but I actually watched The Union, which proved that concept wrong. It's a new action film on Netflix about a secret ops outfit called The Union, which is led by Simmon's character and also features Halle Berry. After an op has gone horribly wrong, Berry recruits her high school sweatheart (Mark Wahlberg), who they think is an outsider that can be trained relatively quickly and is sufficiently unkown to complete a simple job. Or something like that. That plot quickly goes out the window, as Wahlberg within minutes is basically just another team member and we have a regular spy action film. Except everything just falls flat: things are teed up for a nice line or scene, and it's just off and is instead poor and frustrating. Simmons is also criminally underused: he is unable to use any of his charisma and instead mostly has to provide lame bits of exposition without bite or humor. There's some fun in it though, but 2/5 is probably still flattering.

Then Whiplash, Damien Chazelle's 2014 psychological drama about a jazz dummer (Miles Teller) who joins a famous New York conservatory. He desperately wants to join the conservatory's band and become an all-time great, but the bandleader (Simmons) is a kind of sadist who mentally tortures his students when they show any inadequacies. It's for the most part a great story that works really well - even if I felt the development towards Teller's breakdown (the stages leading to the car crash) was a little hurried. Simmons in particular, but also Teller, are great in it, and while it's mostly a more 'plain' film than Chazelle's subsequent work, there's some of his flair in the band scenes, especially the final performance of Caravan, which is a great scene. The only thing I was thinking was -

Spoiler

what have we learned? That Fletcher was right, and his sadism brought out Neiman's greatness? Surely not, that would be a terrible perspective to take. I would rather like to think that it was Neiman's step back from Fletcher's regime that allowed him to breath and find his health drive and creativity back; but that doesn't work with the reunion with Fletcher and both of their excitement at the very end. I know films don't have to end clearly or in a way I like, but I feel Fletcher's fall from grace doesn't happen the way it should have.

But yes, a very strong film. 4/5

In terms of Whiplash's ending, the director has said:

Spoiler

He intended it to be dark. He compared it to the idea of dying for your art, but in this case it's a part of Andrew's soul that dies.

In fact in one interview he says "I think there's a certain amount of damage that will always have been done. Fletcher will always think he won and Andrew will be a sad, empty shell of a person and will die in his 30s of a drug overdose."

So insofar as there's a message it's probably that while Fletcher's approach might work, it isn't worth the damage it causes. And that Andrew's seeming moment of triumph at the end comes with that cost.

 

[Cheimoon]

In terms of Whiplash's ending, the director has said:

Spoiler

He intended it to be dark. He compared it to the idea of dying for your art, but in this case it's a part of Andrew's soul that dies.

In fact in one interview he says "I think there's a certain amount of damage that will always have been done. Fletcher will always think he won and Andrew will be a sad, empty shell of a person and will die in his 30s of a drug overdose."

So insofar as there's a message it's probably that while Fletcher's approach might work, it isn't worth the damage it causes. And that Andrew's seeming moment of triumph at the end comes with that cost.

Spoiler

Hm, yeah - I suppose where that other guy fits in, the one that committed suicide. Fletcher says he made him succeed but we he committed suicide. So I suppose the idea (which I missed, but it sounds plausible) is that Neiman has now become that guy and is on the same trajectory.

 

[Cheimoon]

Red Eye. A 2005 thriller by Wes Craven with Rachel McAdams and Cillian Murphy. A contract killer puts himself in a plane with a hotel employee to make her help him arrange a high-profile killing.

It's a strong film. Short but highly efficient ('economincal', I think they call it): apart from some unnecessary brief bits of stock footage and maybe the length of the final 'fight', not a minute is lost and no scenes or conversations are redundant. Some of the presentation is a bit too standard sometimes maybe (especially the non-tense bits of music), but strong performances of the main characters and a convincing plot make this a good watch. 4/5

 

[Twins]

What actually was the twist? I genuinely don't remember one.

A good twist for this cnut would be thinking "that was a good movie" when the credits roll.

Spoiler

When they found out that one of them was a fairy all along. Even typing this is painful.

 

[CassiusClaymore]

Spoiler

When they found out that one of them was a fairy all along. Even typing this is painful.

Oh I thought you were talking about "Trap"

That's that ruined then. Not that I'd watch it anyway in all honesty.

 

[Superunknown]

Watched Vertigo for the very first time last night. It's been on my list of Hitchcock films to watch for quite a while. Iconic in lots of ways. Kim Novak is simply stunning in this film. Found her to be very enigmatic. Loved the performances from the two main leads and there's a nice little subplot with Barbara Bel Geddes's Midge character. The 'twist' in this is great, and it's awesome how the final third of this film unfolds. There's a nice sliding descent into paranoia and madness in this that I can totally get behind, along with a few other elements that you just have to roll with, which I find happens a lot in Hitchcock's films. I'm completely fine with that - the more of that the merrier.

Not quite sure where to place it on my list of favourite Hitchcock films, so it will warrant a second viewing to truly find out where it places. I was very tired from a busy week of work, so maybe watching it late on Friday night wasn't the best of ideas, but I still had a fantastic time with this. I've still got Rope on my list and Rear Window, so I'm looking forward to checking those out.

Another one that I really enjoyed before is The 39 Steps, which is one of my favourite films by him. I love the frenetic pace in that and hope it jumps from one situation to the next. He truly was one of the greats.

 

[Sweet Square]

Are you a fan of Italian neo-realism?

Yep. I’ve seen a few. I watched the Bicycle Thieves earlier this year although my personal favourite is Pasolini film Accattone.

 

[ColvaleGoa]

Rebel Ridge on Netflix. Was pretty good . Kind of new generation Rambo but not so much body count.

Also Antony Martial has bulked up for this role.

 

[Wing Attack Plan R]

https://digg.com/stat-significant/link/the-fall-and-rise-of-nicolas-cage-a-statistical-analysis

@Dirty Schwein

 

[Badunk]

Alien Romulus

Went in with fairly low expectations, given how some have slated it in this thread, but thoroughly enjoyed it. I'd describe it as the Rogue One of the Alien franchise. Yes, there's a few nods to the other films in the franchise, but it was intense, claustrophobic, and extremely entertaining. And Andy was fantastic.

9/10

 

[Hugh Jass]

Watched Vertigo for the very first time last night. It's been on my list of Hitchcock films to watch for quite a while. Iconic in lots of ways. Kim Novak is simply stunning in this film. Found her to be very enigmatic. Loved the performances from the two main leads and there's a nice little subplot with Barbara Bel Geddes's Midge character. The 'twist' in this is great, and it's awesome how the final third of this film unfolds. There's a nice sliding descent into paranoia and madness in this that I can totally get behind, along with a few other elements that you just have to roll with, which I find happens a lot in Hitchcock's films. I'm completely fine with that - the more of that the merrier.

Not quite sure where to place it on my list of favourite Hitchcock films, so it will warrant a second viewing to truly find out where it places. I was very tired from a busy week of work, so maybe watching it late on Friday night wasn't the best of ideas, but I still had a fantastic time with this. I've still got Rope on my list and Rear Window, so I'm looking forward to checking those out.

Another one that I really enjoyed before is The 39 Steps, which is one of my favourite films by him. I love the frenetic pace in that and hope it jumps from one situation to the next. He truly was one of the greats.

Strangers on a Train is really good. The lady Vanishes too. My favourite is Psycho.

 

[caid]

I think I love every Hithcock film i've seen but i couldn't pick between them. Maybe it was how i watched most of them, it was over 3 or 4 days around christmas and i must have watched a dozen or so, so they kind of blend together i guess. They're all great and still so watchable.

 

[Superunknown]

Strangers on a Train is really good. The lady Vanishes too. My favourite is Psycho.

I fecking adore Psycho. Haven't seen the other two yet. The Birds is another of my favourites. Psycho is something else, though. I was a teenager when I saw it the first time and thought it was good, but it's the type of film that I think actually gets better with subsequent watches and actually ages well with you. As I've got older, I've loved various different aspects of the film.

Spoiler: Psycho Spoilers

The switch with the perspective of characters in this is excellent. You spend the first major chunk of the film following who you think is the main character, and then the film flips the whole thing on its head. Utterly groundbreaking shit. Imagine seeing that for the first time now without any knowledge of it or its homages/parodies/rip-offs, etc. I bet it would still blow people away.

 

[Big Andy]

Rebel Ridge on Netflix. Was pretty good . Kind of new generation Rambo but not so much body count.

Also Antony Martial has bulked up for this role.

Black Reacher

 

[Big Andy]

Trap

The latest mind diaroeah from Cinema's biggest hack. You'll often hear people say "switch your brain off" to enjoy a film but you could pull your brain out through your ear with a corkscrew, stick it in a blender and then spread it on toast like pate before gobbling it back up and this would still be an insult to your intelligence.

I'll give him credit, he does come up with ideas that nobody else would even think about but at some point you have to question why that is and who is facilitating this clearly very troubled individual.

Josh Hartnett is shit as well.

I watched this last night. Christ it was bad.

 

[Hugh Jass]

I fecking adore Psycho. Haven't seen the other two yet. The Birds is another of my favourites. Psycho is something else, though. I was a teenager when I saw it the first time and thought it was good, but it's the type of film that I think actually gets better with subsequent watches and actually ages well with you. As I've got older, I've loved various different aspects of the film.

Spoiler: Psycho Spoilers

The switch with the perspective of characters in this is excellent. You spend the first major chunk of the film following who you think is the main character, and then the film flips the whole thing on its head. Utterly groundbreaking shit. Imagine seeing that for the first time now without any knowledge of it or its homages/parodies/rip-offs, etc. I bet it would still blow people away.

Strangers on a a train is brilliant. As is North By Northwest and the American version of the Man that knew too much.

For me Hitchcock is the greatest director of all time. Then Kubrick, then maybe Scorsese or Spielberg.

 

[Sweet Square]

The Hypnosis

Brilliant comedy by Ernst De Geer. A couple in their 30’s go to a conference to pitch their app. Film is packed full of different themes ranging patriarchy, classism between workers, distrust in relationships, altruism in a modern capitalist economy and dogs.

8/10

 

[Cheimoon]

Watched Vertigo for the very first time last night. It's been on my list of Hitchcock films to watch for quite a while. Iconic in lots of ways. Kim Novak is simply stunning in this film. Found her to be very enigmatic. Loved the performances from the two main leads and there's a nice little subplot with Barbara Bel Geddes's Midge character. The 'twist' in this is great, and it's awesome how the final third of this film unfolds. There's a nice sliding descent into paranoia and madness in this that I can totally get behind, along with a few other elements that you just have to roll with, which I find happens a lot in Hitchcock's films. I'm completely fine with that - the more of that the merrier.

Not quite sure where to place it on my list of favourite Hitchcock films, so it will warrant a second viewing to truly find out where it places. I was very tired from a busy week of work, so maybe watching it late on Friday night wasn't the best of ideas, but I still had a fantastic time with this. I've still got Rope on my list and Rear Window, so I'm looking forward to checking those out.

Another one that I really enjoyed before is The 39 Steps, which is one of my favourite films by him. I love the frenetic pace in that and hope it jumps from one situation to the next. He truly was one of the greats.

I love Hitchcock and I think Rear Window is great. Brilliant way of working a really small idea into a full film.

 

[Cheimoon]

October Sky. A 1999 feel-good drama by Joe Johnston about a bunch of high school kids (including Jake Gyllenhaal in probably his first major leading role) from a West Virginia coal mining town who see Sputnik 1 in the night sky in 1957 and decide they want to start building rockets. But that's not obvious in a town where all the boys are likely to end up working in the mine.

Nothing groundbreaking, but it's well done and a satisfying story. It's based on real events and they apparently stuck to them pretty closely. Anyway, a good watch. 7/10

 

[Castia]

Longlegs -

It just didn’t hit home for me. I thought Cage’s serial killer character was interesting but it turned into a load of pretentious shite in my opinion.

4/10

 

[Rooney in Paris]

The Hypnosis

Brilliant comedy by Ernst De Geer. A couple in their 30’s go to a conference to pitch their app. Film is packed full of different themes ranging patriarchy, classism between workers, distrust in relationships, altruism in a modern capitalist economy and dogs.

8/10

Sounds interesting! Will have to add to my list

 

[Dirty Schwein]

Longlegs -

It just didn’t hit home for me. I thought Cage’s serial killer character was interesting...

4/10

I would spoiler the rest of that.

 

[V.O.]

Longlegs -

It just didn’t hit home for me.

4/10

I liked it a lot, but it was basically false advertisement. The trailer pretty much sold it as Silence of the Lambs, but it was actually much more Twin Peaks.

With all the zany characters and supernatural bullshit, I can see how people going into it expecting a more grounded serial killer thing would be fecked off with it, but once I realised what they were going for, I enjoyed it for what it was.

 

[Sweet Square]

Sounds interesting! Will have to add to my list

Nice. It takes a little while to really get going but I thought it was great. Also stars this guy(
Herbert Nordrum)The Worst Person In The World

 

[Salt Bailly]

Annoyingly had to pull out of Beetlejuice Beetlejuice today due to an unwell associate.

Rewatched the original and everything.

We go again.

 

[utdalltheway]

Rebel Ridge on Netflix. Was pretty good . Kind of new generation Rambo but not so much body count.

Also Antony Martial has bulked up for this role.

Just saw this last night.
Pretty good flick for a Saturday evening at home.
Good story about an ex USMC black guy that's wronged by an overwhelmingly white police department in small town Louisiana.

for me this is 8/10.