oqvist
Headphoneus Supremus
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The Drop
6/10
Tom Hardy is doing his stuff as per usual. James Gandolfini likewise.
6/10
Tom Hardy is doing his stuff as per usual. James Gandolfini likewise.
Rate The Last Movie You Watched
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spkalka
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In 80 days around the world on TCM. 9/10
oqvist
Headphoneus Supremus
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Antman 3/10.
vwinter
Headphoneus Supremus
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Shin Godzilla 8/10
One would be forgiven for thinking they just saw a film that was actually political and social satire with Godzilla as a vehicle. That's the extent of how much the film played the establishment for laughs and self-inflicted conflict.
Even as someone who hasn't seen a good portion of the Godzilla movies, you can just feel the tribute being paid to films of old. From the design of the monster, especially in the beginning (but even to the end), to the film tone and color temperature and the rampage sequences. There were a lot of great "Whoa..." moments with Godzilla, but with a nice helping of cheese.
This was a monster movie that was very very tongue in cheek IMO. And that translated well to an American audience. People got the jokes, of which there were plenty, because they were well delivered and effectively universal, even the ones that weren't politically hinged. Maybe it was an audience who wanted to love this, but the theater was pretty packed and people even applauded at the end.
The end however was a bit anticlimactic and let the film down more than the political maneuvering potentially could. The plan was quintessentially science film, where "science", technology and engineering win out on brute force. And I quote science because the the pace the were going with the science revelations, it may as well have been Jack's beanstalk beans. But as far as action goes at the end, it almost felt "guy in a costume". This was the kind of ending you would expect from a Power Rangers TV movie, not a Godzilla movie. But to be fair, they were pretty much setting up for the next film, almost on the assumption of getting the green light, or that it was a 2 film deal already signed off on.
I was under the impression that this one had two directors, but in a bit of an odd play, if you sat through the credits to the end, there was a bit of subtitling for the localization team, which itself was interesting since it was in Japanese and I'd assume that it wasn't in the Japanese version, and it ended with Written and Directed by Hideaki Anno. No mention of the co-director Shinji Higuchi. I guess Funimation knows their audience?
Anno brought his evA-Game, including composer Shirō Sagisu. When the Decisive Battle arrangement came on, I knew it was "fan service" for the Evangelion faithful, but it worked well for the situation, and truth be told I was giddy as f*. His direction was just a spectacular show of deftly timed cuts and military action sequences.
The Japanese-American politician's daughter Kayoco was an obvious weak point. Not because her speaking English was bad, but because there was no point to it. She just starts speaking English in a room full of full-on native Japanese speaking politicians, when she can obviously speak fluent Japanese. I'm just going to choose to ignore her whole "character" and her fun goal of the US Presidency, but what was on screen wasn't awful. It just didn't add much of anything. What was awful was the quality of the native English speaking actors. They may as well have gotten non-fluent English-speaking Japanese actors to do it. I feel like they walked into an expat bar with a clipboard and a Godzilla Movie Needs You sign.
There's a lead character. I guess you could call him a protagonist. But really, even this appears to be a jab at traditional Japanese culture. He's always there moving and shaking but kind of gets lost in the hustle and bustle of the state of emergency. Really this is more than fine and a welcome change of pace from the classic American disaster movie setup.
I'm actually pretty glad I saw this in theaters. There's something about this kind of movie that needs to be physically larger than life. It was probably actually/closer to being in the mid-high 7's but bonus points for the film having stones to be different and dig through the attic of its own past and the culture that created it.
One would be forgiven for thinking they just saw a film that was actually political and social satire with Godzilla as a vehicle. That's the extent of how much the film played the establishment for laughs and self-inflicted conflict.
Even as someone who hasn't seen a good portion of the Godzilla movies, you can just feel the tribute being paid to films of old. From the design of the monster, especially in the beginning (but even to the end), to the film tone and color temperature and the rampage sequences. There were a lot of great "Whoa..." moments with Godzilla, but with a nice helping of cheese.
This was a monster movie that was very very tongue in cheek IMO. And that translated well to an American audience. People got the jokes, of which there were plenty, because they were well delivered and effectively universal, even the ones that weren't politically hinged. Maybe it was an audience who wanted to love this, but the theater was pretty packed and people even applauded at the end.
The end however was a bit anticlimactic and let the film down more than the political maneuvering potentially could. The plan was quintessentially science film, where "science", technology and engineering win out on brute force. And I quote science because the the pace the were going with the science revelations, it may as well have been Jack's beanstalk beans. But as far as action goes at the end, it almost felt "guy in a costume". This was the kind of ending you would expect from a Power Rangers TV movie, not a Godzilla movie. But to be fair, they were pretty much setting up for the next film, almost on the assumption of getting the green light, or that it was a 2 film deal already signed off on.
I was under the impression that this one had two directors, but in a bit of an odd play, if you sat through the credits to the end, there was a bit of subtitling for the localization team, which itself was interesting since it was in Japanese and I'd assume that it wasn't in the Japanese version, and it ended with Written and Directed by Hideaki Anno. No mention of the co-director Shinji Higuchi. I guess Funimation knows their audience?
Anno brought his evA-Game, including composer Shirō Sagisu. When the Decisive Battle arrangement came on, I knew it was "fan service" for the Evangelion faithful, but it worked well for the situation, and truth be told I was giddy as f*. His direction was just a spectacular show of deftly timed cuts and military action sequences.
The Japanese-American politician's daughter Kayoco was an obvious weak point. Not because her speaking English was bad, but because there was no point to it. She just starts speaking English in a room full of full-on native Japanese speaking politicians, when she can obviously speak fluent Japanese. I'm just going to choose to ignore her whole "character" and her fun goal of the US Presidency, but what was on screen wasn't awful. It just didn't add much of anything. What was awful was the quality of the native English speaking actors. They may as well have gotten non-fluent English-speaking Japanese actors to do it. I feel like they walked into an expat bar with a clipboard and a Godzilla Movie Needs You sign.
There's a lead character. I guess you could call him a protagonist. But really, even this appears to be a jab at traditional Japanese culture. He's always there moving and shaking but kind of gets lost in the hustle and bustle of the state of emergency. Really this is more than fine and a welcome change of pace from the classic American disaster movie setup.
I'm actually pretty glad I saw this in theaters. There's something about this kind of movie that needs to be physically larger than life. It was probably actually/closer to being in the mid-high 7's but bonus points for the film having stones to be different and dig through the attic of its own past and the culture that created it.
Hutnicks
Headphoneus Supremus
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The Neon Demon 9/10
If you are not a fan of Refn's or Lars Trier give this a miss, it will score around a 3 for you. If however you can take a Scandinavian mind interpreting American Glamour culture this may be a rewarding experience for you. Imagery is fast and furious and you can miss a whole lot in there quite easily. Themes run continuously through this film with somewhat scathing connotations, such as the Pink triangle which was used by Nazis to identify homosexuals. There are literally dozens of other motifs packed in here and I can see why it took Refn 2 hours to get all this out. I suspect this is his once in a lifetime film and judging by the reception at Cannes and the all over the map reviews I think he hit his goal on this.
This is a horror film and in that respect the ending is almost too gratuitous. He could have been more subtle and left it to the imagination which would have had the critics even more confounded. I have heard every combination of directors cobbled together to describe the style. My take on that would be the plotting and menace of Cronenberg shored up with the atmosphere and cinematic perfection of Kubrik. Like any Kubrik film you could print any frame out of this and hang it on a wall.
There is also a very 70's scifi/horror theme that runs through there. "New You" from Logans run was obviously an inspiration for one of the many themes.
This is one film I suspect that gets even creepier on the second watch.
Performance wise it is constructed or deconstructed to use minimal input from the actors. This is deadpan all the way through much like a haute couture runway show itself.
If you are not a fan of Refn's or Lars Trier give this a miss, it will score around a 3 for you. If however you can take a Scandinavian mind interpreting American Glamour culture this may be a rewarding experience for you. Imagery is fast and furious and you can miss a whole lot in there quite easily. Themes run continuously through this film with somewhat scathing connotations, such as the Pink triangle which was used by Nazis to identify homosexuals. There are literally dozens of other motifs packed in here and I can see why it took Refn 2 hours to get all this out. I suspect this is his once in a lifetime film and judging by the reception at Cannes and the all over the map reviews I think he hit his goal on this.
This is a horror film and in that respect the ending is almost too gratuitous. He could have been more subtle and left it to the imagination which would have had the critics even more confounded. I have heard every combination of directors cobbled together to describe the style. My take on that would be the plotting and menace of Cronenberg shored up with the atmosphere and cinematic perfection of Kubrik. Like any Kubrik film you could print any frame out of this and hang it on a wall.
There is also a very 70's scifi/horror theme that runs through there. "New You" from Logans run was obviously an inspiration for one of the many themes.
This is one film I suspect that gets even creepier on the second watch.
Performance wise it is constructed or deconstructed to use minimal input from the actors. This is deadpan all the way through much like a haute couture runway show itself.
WraithApe
Headphoneus Supremus
Good to see The Neon Demon getting the props it deserves on this board! @Hutnicks Agree with all of the above, I just take slight issue with the idea that you have to be a fan of Refn's to get this one - I wasn't. I didn't like Valhalla Rising or Only God Forgives, and thought Drive was somewhat overrated. TND is the one that won me around and has me thinking I might need to go back and re-watch the rest of his stuff now; as you say, it's his once in a lifetime film - possibly even his Antichrist, which is Von Trier's masterpiece IMO.
Hutnicks
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Much like Antichrist it polarized views in ways few other films have. They are both films I really think twice about the person before recommending them to see it.
I have not seen Only God Forgives as it seemed like he followed Scorceses flawed logic and timing in making Casino too soon after Goodfellows just to work with the same people again. I did like drive but would probably rate it a point or two lower than most.
mutabor
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I don't get why Drive was so hyped, PR-ed everywhere and got high critics ratings while The Neon Demon has got lukewarm reception from critics as if Refn's carrier went downhill. The Neon Demon is not a minor film to Drive it's just different.
WraithApe
Headphoneus Supremus
Probably because it's a more palatable film for the majority of critics - TND is more challenging and its horror aspects may be off-putting to anyone who dislikes the genre. Speculating now, but if they also disliked Only God Forgives (which a lot of critics did), then they may not have been so well-disposed to his latest project, almost looking for reasons to attack it without giving it a fair chance.
Hutnicks
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My own suspicions lie in that Refn did not make a "White Bread" film that fit in with the status quo, and thus gets panned. Meanwhile absolute dreck like Gone Girl which is cookie cutter in construction got raved over to no end.
MikePio
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Another great movie I just discovered! A warm feel good type of movie with a strong message and plenty of meaning, a real gem. Back to the trivia thing, lets see who can get this one, last time it was too easy
. Either way, highly recommended film. The screenshot might give a little clue!
En man som heter Ove (2015) (A Man Called Ove) - 9/10
En man som heter Ove (2015) (A Man Called Ove) - 9/10
WraithApe
Headphoneus Supremus
Another great movie I just discovered! A warm feel good type of movie with a strong message and plenty of meaning, a real gem. Back to the trivia thing, lets see who can get this one, last time it was too easy. Either way, highly recommended film. The screenshot might give a little clue!
-------------? 9/10
A Man Called Ove. It's still too easy in the age we live in
WraithApe
Headphoneus Supremus
Last day at London Film Festival yesterday. It's been a good year, based on what I've seen, with quality programming and a good range of countries represented (until this weekend, only 2 of the 12 films I'd watched were English language.) I'll be back for more next year for sure! Wrapping up the final day's offerings...
Without Name - 4/10
Also without much drive or direction unfortunately. A singularly unlikable man goes to survey a piece of woodland and ends up discovering a new side to himself. Terminally dull up to the point where the psylocibin kicks in (in the film, rather than than my bloodstream, I should add for clarity) then it does take it up a notch, with some interesting imagery. It's too little too late though, as the lead has already long since alienated the viewer and you really don't care what happens to him in the end.
The Ghoul - 8/10
Another example of just how much you can achieve with imaginative writing and good actors when there's very little money for anything else. I like the fact this one plays its joker card early on in the film and then keeps you guessing throughout - too many filmmakers think they can throw some outrageous twist in at the end and everything that has gone before will somehow be imbued with greater significance. This one is carefully plotted throughout and the imagery of the moebius strip is cleverly mirrored in the structure of the film. As with other films where you are essentially in one character's head for the whole thing, the acting needs to be brilliant and Tom Meeten's is - he manages to portray depression without making it a depressing film, which is quite a feat. This was Gareth Tunley's directorial debut and shows great promise of things to come.
Free Fire - 7/10
Ben Wheatley's latest might have about as much depth as a sheet of paper, but that's beside the point; it's still a clever and highly entertaining film. Wheatley takes the classic gun fight of the action movie and draws it out to an absurd length - it's almost like a formalist exercise, and reminds me of the kind of thing Tarantino might have done way back when. Despite being basically one location and just a lot of shooting, it completely holds your attention. The warehouse location is milked inventively for every angle, it sends up genre tropes with abandon, the characters are all vividly drawn and there's some really funny dialogue - a lot of which comes from the mouth of Sharlto Copley as the inimitable Vernon. An hour and a half of pure fun!
Without Name - 4/10
Also without much drive or direction unfortunately. A singularly unlikable man goes to survey a piece of woodland and ends up discovering a new side to himself. Terminally dull up to the point where the psylocibin kicks in (in the film, rather than than my bloodstream, I should add for clarity) then it does take it up a notch, with some interesting imagery. It's too little too late though, as the lead has already long since alienated the viewer and you really don't care what happens to him in the end.
The Ghoul - 8/10
Another example of just how much you can achieve with imaginative writing and good actors when there's very little money for anything else. I like the fact this one plays its joker card early on in the film and then keeps you guessing throughout - too many filmmakers think they can throw some outrageous twist in at the end and everything that has gone before will somehow be imbued with greater significance. This one is carefully plotted throughout and the imagery of the moebius strip is cleverly mirrored in the structure of the film. As with other films where you are essentially in one character's head for the whole thing, the acting needs to be brilliant and Tom Meeten's is - he manages to portray depression without making it a depressing film, which is quite a feat. This was Gareth Tunley's directorial debut and shows great promise of things to come.
Free Fire - 7/10
Ben Wheatley's latest might have about as much depth as a sheet of paper, but that's beside the point; it's still a clever and highly entertaining film. Wheatley takes the classic gun fight of the action movie and draws it out to an absurd length - it's almost like a formalist exercise, and reminds me of the kind of thing Tarantino might have done way back when. Despite being basically one location and just a lot of shooting, it completely holds your attention. The warehouse location is milked inventively for every angle, it sends up genre tropes with abandon, the characters are all vividly drawn and there's some really funny dialogue - a lot of which comes from the mouth of Sharlto Copley as the inimitable Vernon. An hour and a half of pure fun!
MikePio
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A Man Called Ove. It's still too easy in the age we live inIf you want to make this game really work, you need to crop just a little sliver of a film poster or harder yet, a detail from a still shot.
Wow, I thought this one would be hard... alright next time I will make it even harder.
vwinter
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Sounds like a Google reverse image search to me
By the comment. Not that it was impossible with this lot.
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