[castleofargh]

if it's enjoyable, why not? I didn't go that far, the second F&F already felt to me like an extra season of prison break. so I can't comment on the 7.
 
 
I saw Stratton and I wouldn't go as low as 1/10, it's not deadly annoying and the scenario isn't worst than a transformer movie. but I mostly agree with @Hutnicks feedback. a little anecdote without giving the story away, the guy is supposed to be an expert commando, at one point he gets like a small metal pipe in his leg, first thing he does is pull it out

let's say 5/10 you facepalm a lot but won't fall asleep.
 
 
watched spiderman 2 last night, holly Stevie Wonder! all the stuff superimposed in the background are very obvious. too much so. I didn't remember it looking so wrong so often. it's too bad because it's an ok movie and aunt May isn't 14 yet and actually looks like aunt May. now I'm scared of looking at the first one thinking that maybe it's the same.
 

 

[Hutnicks]

  if it's enjoyable, why not? I didn't go that far, the second F&F already felt to me like an extra season of prison break. so I can't comment on the 7.
 
 
I saw Stratton and I wouldn't go as low as 1/10, it's not deadly annoying and the scenario isn't worst than a transformer movie. but I mostly agree with @Hutnicks feedback. a little anecdote without giving the story away, the guy is supposed to be an expert commando, at one point he gets like a small metal pipe in his leg, first thing he does is pull it out

let's say 5/10 you facepalm a lot but won't fall asleep.
 
 
watched spiderman 2 last night, holly Stevie Wonder! all the stuff superimposed in the background are very obvious. too much so. I didn't remember it looking so wrong so often. it's too bad because it's an ok movie and aunt May isn't 14 yet and actually looks like aunt May. now I'm scared of looking at the first one thinking that maybe it's the same.
 

Spoiler: Warning: Spoiler!

Almost as brilliant as the bimbo leaving Malfoys Glock in the car after he offs himself and gets herself on a busload of bad guys unarmed. Because really, when faced with immanent danger the last thing one would do is pick up a gun lying right in front of your face.

  It was the continous face palming that kept you awake mate

 

[WraithApe]

 
The Theory of Everything - 7/10
 
Let's make no bones about it, the one reason to watch this film is for the performance of Eddie Redmayne and his meticulous depiction of muscular degeneration. Without his central performance it would be a typical romantic drama and a rather sentimental one at that. It is moving, but feels emotionally manipulative at times and especially in the last third, falls back on hoary old genre clichés. Comparisons have been drawn with The Imitation Game and I think they do bear comparison - both films skirt around the great scientific achievements of their subjects (which at least to me, is far more interesting) and instead focus on the struggles of their personal lives. I guess this makes for greater box office pull, but in both cases, I feel there are more interesting stories still to be told.

 

[oqvist]

Do Felicity Jones show more range then in Rouge One?

 

[WraithApe]

  Do Felicity Jones show more range then in Rouge One?

 
You tell me - you've seen both films

 I'm guessing you don't think she's very good in either.
 
To be fair, I think it matters less in a movie like Rogue One. Even in the original trilogy, I don't think anyone would say most of the key characters were played by actors of great range.

 

[oqvist]

   
You tell me - you've seen both films

 I'm guessing you don't think she's very good in either.
 
To be fair, I think it matters less in a movie like Rogue One. Even in the original trilogy, I don't think anyone would say most of the key characters were played by actors of great range.

I don´t remember. I remembered it was Alicia Vikander in that movie and she was awesome . But that was in The Danish girl

 

[Tomsonn]

Last night I watched Zootapia. It is an animated movie and I enjoyed a lot.

 

[vwinter]

Lost Highway [8.4/10]

Another one I'm almost at a loss for to be honest.

At times it felt like an episode of the X-Files, and then the next moment the absolute mastery of the medium is beyond enthralling and absolutely commanding of attention.

Catharsis.
Maybe part of the issue is that this film effectively occupies the same dimensional space as Twin Peaks. A universe so perfectly made for extended storytelling that the creator himself can't let go and the laws of which this film can't escape. Maybe this was an attempt to close a chapter, which to me is an interesting reflection on the film's subject matter.

Duality.
A film that seemingly starts and stops nowhere, a singular point. One where two questionable realities both converge and repel. A story that is incredibly contained yet appears to exist beyond space and time.

Introspection.
An, IMO, fearless viewer on IMDB attempted to identify and look deep into this singularity, a Lynchian point of no return, and came to an interesting conclusion. One that I'm excited and afraid to entertain. The interpretation posits that Lynch at his heart is founded in almost pragmatic logic. Where one might write off even trying to understand Lynch's vision and progression of events as not intended to be sensical, and even detrimental in consideration, this reviewer believes that there is a point in Lynch's films where the real world exists but begins to fall off the rails and that point is where his protagonists, if you can call them that, yearn for escape, an escape that is often internal. Whether or not this has a basis is almost irrelevant. This viewpoint pulls the viewer out of a purely consumptory role wherein they mostly just accept and experience and into an almost introspective role, one where the sensory barrage projected by Lynch is reconciled to a viewer's innate need to understand and process what was experienced.

This moment in Lost Highway was purportedly the very first. If you blinked when the first visual was shown after the opening credits, you may have missed it. The moment when a man denies acceptance of his circumstance, his existence even, and recreates an existence, or maybe nightmare, to redefine the series of events that led him to this point in his life. And even this goes off the rails, in a way, telling of there being no escape.

I can't know that this was ever Lynch's intent. But it's a potential reality that makes more sense than it maybe should, and takes nothing away. One that I'm more than happy to entertain.

At the end of the day, I'm not sure this was a movie I can say I "enjoyed", and this may speak more to the subject matter and it's general emotionally toxic tinge, but I certainly enjoyed the experience.

Personally, I'd put this one behind Blue Velvet and Mulholland Drive.

 

[castleofargh]

ahahah. I saw Lost Highway the first time almost by accident, I had time to kill and went to a theater without a clue about the movie or even that it was from Lynch. I guess I must have found the movie poster more compelling than the other ones...
anyway I came in knowing nothing and I came out knowing nothing and yet feeling that I knew a lot less than before coming in ^_^. and I have to admit, I loved the feeling.
most of my friends found that it was just boring nonsense, so I guess it's not for everybody. it's one of those stuff that changed me as a person, even if it was only for half an hour after the movie, but I don't know if I would suggest it to people.

 

[WraithApe]

Lost Highway [8.4/10]

At the end of the day, I'm not sure this was a movie I can say I "enjoyed", and this may speak more to the subject matter and it's general emotionally toxic tinge, but I certainly enjoyed the experience.

Personally, I'd put this one behind Blue Velvet and Mulholland Drive.

 
For a long time it was my favourite Lynch movie, but on repeat viewings, it might actually be Mulholland Drive. The one thing I took away from my first viewing of Lost Highway was the emotional impact it made - maybe what you refer to as the toxic tinge - few (if any) films I saw after that had quite the same intensity; that ever-present but indefinable dread. I think a lot of Lynch's films are as much about engaging the viewer emotionally as intellectually - maybe his instincts as a musician coming to the fore. That's not to say you can't go into all kinds of levels of analysis, to try to eke out the meaning, but it's evasive. I think it's safe to say that Lynch is prone to giving us puzzles with missing pieces and he's always been loathe to shed much light on them in interviews.

 

[Redcarmoose]

Lost Highway [8.4/10]

Another one I'm almost at a loss for to be honest.

At times it felt like an episode of the X-Files, and then the next moment the absolute mastery of the medium is beyond enthralling and absolutely commanding of attention.

Catharsis.
Maybe part of the issue is that this film effectively occupies the same dimensional space as Twin Peaks. A universe so perfectly made for extended storytelling that the creator himself can't let go and the laws of which this film can't escape. Maybe this was an attempt to close a chapter, which to me is an interesting reflection on the film's subject matter.

Duality.
A film that seemingly starts and stops nowhere, a singular point. One where two questionable realities both converge and repel. A story that is incredibly contained yet appears to exist beyond space and time.

Introspection.
An, IMO, fearless viewer on IMDB attempted to identify and look deep into this singularity, a Lynchian point of no return, and came to an interesting conclusion. One that I'm excited and afraid to entertain. The interpretation posits that Lynch at his heart is founded in almost pragmatic logic. Where one might write off even trying to understand Lynch's vision and progression of events as not intended to be sensical, and even detrimental in consideration, this reviewer believes that there is a point in Lynch's films where the real world exists but begins to fall off the rails and that point is where his protagonists, if you can call them that, yearn for escape, an escape that is often internal. Whether or not this has a basis is almost irrelevant. This viewpoint pulls the viewer out of a purely consumptory role wherein they mostly just accept and experience and into an almost introspective role, one where the sensory barrage projected by Lynch is reconciled to a viewer's innate need to understand and process what was experienced.

This moment in Lost Highway was purportedly the very first. If you blinked when the first visual was shown after the opening credits, you may have missed it. The moment when a man denies acceptance of his circumstance, his existence even, and recreates an existence, or maybe nightmare, to redefine the series of events that led him to this point in his life. And even this goes off the rails, in a way, telling of there being no escape.

I can't know that this was ever Lynch's intent. But it's a potential reality that makes more sense than it maybe should, and takes nothing away. One that I'm more than happy to entertain.

At the end of the day, I'm not sure this was a movie I can say I "enjoyed", and this may speak more to the subject matter and it's general emotionally toxic tinge, but I certainly enjoyed the experience.

Personally, I'd put this one behind Blue Velvet and Mulholland Drive.

Spoiler: Warning: Spoiler!

I have had such a long and rocky relationship with the movie. Upon first seeing it on Laser Disk in the 1990s it was a style of riddle. Then later a friend told me it was a simple story really. Man kills wife, strange "Blake" character is his inner killer. And the second half of the movie is simple a delusion created by a mans mind in prison for the rest of his life. After seeing it multiple times later with that understanding it completely made sense! Though I have to say the movie held a special intrigue when it was a mystery.

 

[vwinter]

castleofargh I'd guess a solid 15% of people would like Lost Highway.

For a long time it was my favourite Lynch movie, but on repeat viewings, it might actually be Mulholland Drive. The one thing I took away from my first viewing of Lost Highway was the emotional impact it made - maybe what you refer to as the toxic tinge - few (if any) films I saw after that had quite the same intensity; that ever-present but indefinable dread. I think a lot of Lynch's films are as much about engaging the viewer emotionally as intellectually - maybe his instincts as a musician coming to the fore. That's not to say you can't go into all kinds of levels of analysis, to try to eke out the meaning, but it's evasive. I think it's safe to say that Lynch is prone to giving us puzzles with missing pieces and he's always been loathe to shed much light on them in interviews.

I think dread is pretty dead on for what that feeling is. He uses this as such a strong motivator for his characters at that. David Lynch, the original king of FOMO.

Even if this interpretation explains how it all started, there's still the entire rest of the movie haha. And there lies the struggle I don't have any interest in undertaking, perhaps a stone better left unturned. That might be my title for the David Lynch biography, "David Lynch: Perhaps a Stone Better Left Unturned".

Spoiler: Warning: Spoiler!

I have had such a long and rocky relationship with the movie. Upon first seeing it on Laser Disk in the 1990s it was a style of riddle. Then later a friend told me it was a simple story really. Man kills wife, strange "Blake" character is his inner killer. And the second half of the movie is simple a delusion created by a mans mind in prison for the rest of his life. After seeing it multiple times later with that understanding it completely made sense! Though I have to say the movie held a special intrigue when it was a mystery.

Spoiler

Same logic I was alluding to (didn't wanna spoil a movie no one would watch lol) except that the point of delusion was when he heard the buzzer about 2 second into the movie haha, with the idea being that he's having his last cigarette already on death row, pushing the blame for the death onto supernatural forces and struggling to face his own demons. I think the movie has plenty of intrigue left over either way, it's just one part of a pretty intense puzzle.

As if that character wasn't creepy enough smh.

 

[WraithApe]

What's up next @vwinter ? Inland Empire? 

 

 

[vwinter]

What's up next @vwinter
 ? Inland Empire? :veryevil:  

I don't think I have the strength lol.

Throwing around if I wanna do writeups for Fast Times at Ridgemont High and/or Escape from New York, and figuring out where I stand on Kimi no Na wa.

 

[Hutnicks]

I don't think I have the strength lol.

Throwing around if I wanna do writeups for Fast Times at Ridgemont High and/or Escape from New York, and figuring out where I stand on Kimi no Na wa.

FTRH was a banner film for it's generation and will probably lack traction with under 40's. Same with Escape from New York, arguably Carpenters high water mark period along with Big Trouble in Little China. The Kurt Russel collaboration was perfection in camp action comedy for it's time.
 
Not seen Kimi no Na wa as of yet.