Discuss and Rate the Last Film You Watched

Is this the first poll?


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Thaluikhain

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Monster Hunter, starring Milla Jovovich and Ron Pearlman is also in there a bit.

Milla Jovovich Milla Jovoviches and there's monsters and a hunter. Quite well done if you like that sort of thing.
 

Bartholen

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Neither of those movies made me cry at all. Toy Story 2 has some characters abandoned by someone we don't know and don't care about and then they get accepted by Andy and find a nice happy home. Toy Story 3 has all the characters we've known for 3 movies being abandoned by Andy who is growing up and doesn't need them anymore and are going to new children and a future of uncertainty.
Well neither did Inside Out or Up make me cry, so therefore the point is moot, durrr.

Point being that those kinds of dark, adult themes were present in Pixar movies from the very start. Just because you didn't cry at their earlier work or because "nobody likeable died" doesn't make that untrue. Finding Nemo is about a parent's greatest fear: losing your only child. The very first Toy Story is all about Woody being abandoned by Andy for the shiny new thing, and also deals with prejudice and abuse. Up actually goes against your argument about Pixar making "hea[r]t wrenching movies that make you cry now", because that movie is all about rediscovering empathy and the joy for life in one's old age despite adversity. But because all everyone ever talks about in relation to Up is the beginning montage, it's garnered a reputation as some kind of heartwrenching tragedy. So, sorry, but your assessment that Pixar is "now" (Inside Out came out almost a decade ago for goodness sake) some kind of tearjerker factory is just wrong.
 

Bartholen

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X, 7/10

Probably the most simple movie title in history, X is a slasher flick from A24 about a group of guys and gals who go to a remote farm to shoot a porn flick in 1979. The usual slasher shenanigans ensue: tension, tits, screaming, gore, the works. It's very straightforward compared to what A24 is usually known for, but it's elevated by it being actually about something, good acting and script, and the cinematography. It's got very juicy gore that's on the high end of the R rating, and I enjoy that kind of thing. It has a good sense of humor that's balanced quite well and inserted in all the right places without breaking the tension. It's a lot more of a slow burn than your usual slasher flick, so if you're expecting some sort of splatterfest you'll be disappointed. Instead it takes its time to develop the characters that are actually pretty likeable and human, and don't fall into the usual horror movie tropes. It's got some entertainingly meta moments as the events in the film begin to mirror the events in the porn they're shooting.

It's not some masterpiece or anything, but I enjoyed myself well enough. If you're looking for a slasher that's got a fair bit more artistic merit and ambition than your Jasons and what have you, then check it out.
 

Hawki

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Resident Evil: Afterlife (5/10)

So I finally got round to seeing Afterlife, meaning I've now seen every live-action RE film (unless there's some obscure production I don't know about). Overall, I can't say I was too impressed. Looking at the Anderson films, I'm in the position where there's a pretty clear divide between 1-3 (enjoyable, pretty decent) and 4-6 (dreck). Still, of the latter half of the series, this is probably the least bad of the bunch, so there's that I guess.

Anyway, random thoughts:

-The intro to this film is actually really well done. Well shot, very atmospheric, etc. However, I'm not sure how it really translates into the wider scheme of things, as since the T-virus outbreak began in the US, surely the Japanese would know by the time of the intro that "hey, maybe people standing blank-eyed in the rain might be infected by this virus that's causing people to develop a taste for human meat?" I've seen it suggested that the outbreak in Japan is meant to coincide with Raccoon City or something, but meh, I'll give credit where credit is due.

-I also like the Umbrella snipers at the start, passing the night away by shooting zombies. Not sure why Tokyo is so empty (maybe they just cleared them out over the years?), but meh, it's a nice touch. It sort of reinforces that not everyone at Umbrella is a douche.

-Alas, this is where the film really starts to veer into crap, as the Alice clones invade Umbrella's Tokyo base. Somehow, hundreds of Alice clones make it from Nevada to Tokyo, and what follows is a lame Matrix hallway scene ripoff. The CGI is terrible, the camerawork is shoddy, and it lacks any emotional investment. Similar to Retribution riffing off Aliens, it's a case where Anderson takes elements of an iconic movie, but either doesn't understand what makes the scene work, or doesn't care.

-So the Alice clones storm the base (zzz), and Wesker escapes in a VTOL, while setting off a bomb that kills all the Alice clones. Again, Extinction was kind of guilty of not organically following Apocalypse, but here, Afterlife repeats the issue, but worse. As in Extinction sets up the Alice clones, and Afterlife removes all of them within its first ten minutes. Now, it's not as if Extinction is entirely blame-free in this - it sets up how Alice can synthezie a cure in the Umbrella base, whereas here, she's apparently said "yeah, but no" to that, and has gone on some mad crusade rather than developing a cure, but Afterlife, I'd argue, is even worse here. I can get that hundreds of Alice clones would be an issue storywise, but surely it could have left a few alive? Crisis of identity? What's a "real" person? Retribution is worse in this, in that it doesn't delve into these questions at all despite cloned characters returning, but Afterlife is still guilty.

-So the real Alice boards the VTOL and confronts Wesker. I'll say it now, the Wesker we saw in Afterlife was much more intimidating than the one here, even if this one is closer to the games (red eyes, suerhuman strength, etc.) Wesker chews the scenery, and there's no emotional connection in their confrontation, as this is the first time they've met face to face. Not for the first time in this film, Anderson riffs off elements of RE5, while not understanding (or caring) why those elements worked.

-So Wesker removes Alice's powers (which translates to "no telepathy," otherwise she remains as agile as ever), but so busy as he is gloating, the VTOL smashes headfirst into a mountain. A crash that Alice survives. Um...what? This is insane enough by its own, but what's worse is that she died from a similar crash in Apocalypse. You can argue that getting impaled by flying metal is worse than crashing into a mountain, but REALLY? God, we're 10 minutes in, and this movie thinks I'm an idiot.
 

Hawki

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-So Alice survives (somehow), and gets a plane (somehow) and flies from Japan to the US (somehow), and then to Alaska (somehow), and lands at what's meant to be Arcadia - journey that takes about six months. Fine, whatever. It's clear however that in the time period we see Alice alone, Jovovich just doesn't have the acting chops to carry a film by herself. Compare this to something like 'I Am Legend,' where Will Smith DOES carry the film by himself for most of its runtime, and does an excellent job in the process. Here, however...yeah.

-So Alice finds the helicopter that Claire and co. flew to Alaska from Extinction (again, how does a helicopter fly from Nevada to Alaska? Did they stop off for fuel on the way?), but no sign of Claire's convoy bar Claire herself, who's under mind control from the red spider thing from RE5. Alice removes it, but Claire has memory loss. Convenient.

-Alice: "Rememer me? The convoy? L.J., Mikey, K-Mart?"

Me: "What about Carlos?!"

-So Alice and a still amnesiac Claire fly down the west coast of Alaska, Canada, and the US. Why? Don't really know. I think the implication is meant to be that they're tracing the route that the helicopter took, but apart from that, I don't know. But if it's to move on, it's a pretty silly idea, because Alaska's in pretty good shape compared to the wasteland further south.

-They arrive in Los Angeles, which is still burning in many places because...reasons. I think it's mentioned that the city was bombed, and okay, fair enough, but how is it still on fire? What, did it never rain over the last 6 years? (I say 6 years because this film's timeline doesn't work that well compared to the prior films, but it doesn't make or break things).

-So they land on top of a prison after seeing survivours. This prison (Citadel Corrective) is in the middle of Los Angeles because, um, that's where max security prisons are established? I know the US prison system is kind of shit, but who puts a giant prison IN THE MIDDLE OF A CITY?

-So they land, and discover that Arcadia is actually a boat, that the coordinates it sent were valid at the time (Alaska), but the boat's headed down the west coast, and is now off the shore of LA. However, the ship's gone silent, it isn't responding to flares, and no-one is seen on the deck. Still, it's the goal of everyone to get to the ship, and it's not a bad goal, since the prison is surrounded by zombies.

-Also, Chris is in the basement of the prison, as the survivours believe he's a prisoner due to being in a cell and in drags. Turns out that some prisoners sprung on him when the prison was being evacuated, but no-one believes him.
 

Hawki

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-Okay, question time. All the people in this prison must have been here for 5-6 years, given that they entered the prison "when this all went own." that means that they've had enough stored food to sustain them for 5-6 years, and likewise, enough fuel to keep all these torches burning. I guess it's not entirely out of the realm of plausability, as the prison was used as a military staging ground when the outbreak began, but even so...

-Should comment on the survivour characters themselves. They're...fine, I guess. None of them are really fleshed out except Luther. At the very least, the film does slow down here, and is far removed from the idiocy of the Tokyo scenes, so there's that, I guess.

-So the zombies break into the prison by digging in from below. Some of them have mutated (I guess) into Las Plagas-esque zombies with the mouth tendrils from RE4/5. If we're judging this as an adaptation, obviously this doesn't make sense (since the T-virus and Las Plagas are completely different pathogens), but in the context of the films, I'll just accept that the T-virus has continued to mutate and cause subsequent mutations. What's more iffy is the Executioner from RE5, which begins banging on the gates to the prison. Is this a BOW sent by Umbrella to attack the prison, or another natural mutation? If the former, why, when they already know Alice is there, and if the latter, how?

-So they free Chris, and plot their escape. One by one, the redshirts are killed off bar Bennett, who steals the plane to fly to the Arcadia. There isn't too much to say here, only that now, zombies can run (whereas prior to this, they could only shamble), and that the CGI is still terrible. It really contrasts with how Extinction handled things, but I'll comment on that later. Anyway, Alice, Claire, and Chris make it out of the prison through the Las Plagas zombie tunnel, with Bennett escaping on the plane, and Luther apparently being taken by the Plagas zombies.

-So Alice, Claire, and Chris make it to the Arcadia on a motorboat (I guess it was just lying around or something, and still functional...fine), and find it abandoned, but operated by Umbrella. A trap to lure people in.

-I'll give some credit here, these sections are handled fairly well, when they explore the underbelly of the ship, where it sequences from a rusty interior to sterile, white testing labs, that finally reveal Wesker. The buildup in of itself is well done.

-Unfortunately, what happens next really doesn't work. Let's say that, for argument's sake, you've bought into this apparent Alice-Wesker rivalry that's so far been exclusive to this film. Fine. Why, then, should I also accept the premise that Claire and Chris confronting Wesker is meant to be just as meaningful? Because it's what the film's going for, as it riffs off RE5 without the same context, as Wesker states (paraphrased) "Chris and Claire, you've become an inconvenience for me"), despite the fact that he's never met either of them face to face, and while you could argue that Claire's been 'inconvenient' by escaping the Arcadia goons in Alaska, Chris has been locked up for 6 years, so what's his relationship with Wesker? Hence, while it parallels RE5 and Chris/Sheva fighting Wesker, it lacks any emotional context.

-Alice kills Wesker (because of course she does), Chris and Claire pump him full of lead in what I assume is meant to be a moment of catharsis, but in reality means nothing. Bennett is left in a locked room with Wesker's corpse to die, but Wesker escapes (somehow), and boards a VTOL, only for it to detonate because they removed the Arcadia's bomb and put it on the VTOL, because they just knew that Wesker was going to escape and you know what, I really don't care anymore.

-What comes after is actually a fairly decent moment, as the trio take control of the ship, with the test subjects released. Where Alice declares that they "live up to the promise" [of Arcadia]), and records her own message to be broadcast. Little piece of hope that actually closes things off, and I'd argue, could have capped off the entire series. Because think about it. By all rights, Umbrella should be functionally useless at this point (Alice has destroyed their Tokyo HQ...yes, Umbrella's apparently a Japanese company in this continuity), there's no "to be continued" aspect in this specific moment, nor real lingering plot points. Every antagonist is dead, there's clearly infection-free areas on the planet, and there's no real reason for the series to continue.
 

Hawki

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-Alas, that doesn't happen, because literally immediately afterwards the ship is approached by dozens of Umbrella VTOLs. Yes, DOZENS. Um...

-Oh, and their orders are to shoot to kill, because after years of gathering test subjects, Umbrella is now going to kill thousands of people rather than re-capture them. Because, um...sorry I've got nothing. Remember when I said in my Extinction reiew that Umbrella here isn't stupid evil? This, everyone, is stupid evil. Afterlife makes the jump from "banal evil" to "stupid evil" arguably in this exact moment. It's...kind of impressive actually.

-Oh, and Jill's leading the Umbrella troopers with her own mind control device and is blonde, because RE5 did it. Hey, Jill, nice to see you...after no-one even mentioning your existence over the last two films. I'm sure that you'll be treated with grace and diginity in the next films, right?

RIGHT?!

So, yeah, I didn't think much of Afterlife. The comments above hopefully speak for themselves. However, I want to draw a point of comparison between this and Extinction, both in-universe and out-universe.

In-universe, it's really weird how much Umbrella has shifted, not just in its actions, but in its resources. Extinction established that Umbrella, while holed up underground in a post-apocalyptic world, wasn't doing that well. Their bases are suffering casualties and are running low on resources. Any trip to the surface is dangerous and has to be approved by the higher ups. When Isaacs moves to capture Alice, he has two helicopters, one of which has a crate of 'super zombies,' and only a handful of grunts. The implication in Extinction is that Umbrella is in a position of having to conserve its resources. Here, however, there's thousands (if you believe the casualty counter) of Umbrella staff in the Tokyo base, all of which are killed by the Alice clones or in the bomb that Wesker sets off (the explosion of which looks like something out of sci-fi), and yet by the end, they can field dozens of VTOLs deployed from God knows where. I know Umbrella is big, but Afterlife enters rediculous territory.

But more importantly, there's a hard shift in how Afterlife presents itself compared to Extinction, and the films before that for that matter. You can read my review of Extinction, but the point is, Extinction had 'grit,' in how it was directed, its environment, and its tone. When people died in Extinction, the characters clearly felt something (e.g. screaming in grief, conducting funerals, the weight of Carlos's sacrifice, etc.) Here, there's none of that. The shoddy CGI adds to this, but there's a sense of 'unreality' that Afterlife has that the films prior to this don't. The scale is larger, the stunts are larger, Umbrella's forces are larger, but none of that makes it better. And yet, despite all that, Afterlife is still better than the next two films, but compared to the three prior ones? Those three, I'd argue, were fun zombie flicks. Afterlife, however, is just stupid. The writing is stupid, the characters are stupid, and it's largely mindless. If there's a point where the RE movie series lost its way, this is it.

So, to rank the Anderson films, my current (and likely final) ranking is as such:

6: Retribution
5: The Final Chapter
4: Afterlife
3: Apocalypse
2: Extinction
1: Resident Evil

How Welcome to Raccoon City fits into that hierarchy is something I'm still not sure about (within the 1-3 range at least), but, yeah. Maybe someday I'll give the last two films 'proper watches,' but for now, I need a break from RE.
 

Drathnoxis

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Well neither did Inside Out or Up make me cry, so therefore the point is moot, durrr.

Point being that those kinds of dark, adult themes were present in Pixar movies from the very start. Just because you didn't cry at their earlier work or because "nobody likeable died" doesn't make that untrue. Finding Nemo is about a parent's greatest fear: losing your only child. The very first Toy Story is all about Woody being abandoned by Andy for the shiny new thing, and also deals with prejudice and abuse. Up actually goes against your argument about Pixar making "hea[r]t wrenching movies that make you cry now", because that movie is all about rediscovering empathy and the joy for life in one's old age despite adversity. But because all everyone ever talks about in relation to Up is the beginning montage, it's garnered a reputation as some kind of heartwrenching tragedy. So, sorry, but your assessment that Pixar is "now" (Inside Out came out almost a decade ago for goodness sake) some kind of tearjerker factory is just wrong.
I've never rewatched Up because of that beginning montage, it's just too much for me. Maybe they have always had some dark themes, but they've definitely gotten better at make them hit harder.

Actually did you ever see that bit of commentary about the first draft of Toy Story that almost got the film cancelled where Woody was a massive unlikable jerk?
 
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Specter Von Baren

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I've never rewatched Up because of that beginning montage, it's just too much for me. Maybe they have always had some dark themes, but they've definitely gotten better at make them hit harder.

Actually did you ever see that bit of commentary about the first draft of Toy Story that almost got the film cancelled where Woody was a massive unlikable jerk?
Woody was also kind of an unlikable jerk for a good chunk of Toy Story anyway. It's why I vastly prefer TS2 over 1.
 

Chimpzy

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Moonfall

Wow, it's really dumb. Like, so dumb. Very, very, very dumb. Also, huge cocktease. I expected global scale destruction porn, but it left my balls blue as a smurf.
 

PsychedelicDiamond

Wild at Heart and weird on top
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Berlin Alexanderplatz (1980)

Adaptation of a late 1920's German novel by great German director and playwright Rainer Werner Fassbinder in form of what's, from a modern perspective, a 14 episodes miniseries produced for german television. According to Fassbinder himself though, it's a film of 13 parts and an epilogue so that's what I will be treating it as. It's not the only adaptation of the book in question, there was another made all the way back in 1931, and filmed on location, and yet another one made in 2020 that reimagines it as an immigrants story, but definitely the only one that made a significant mark on the history of german cinema.

Berlin Alexanderplatz follows ex convict Franz Biberkopf's experiences in the urban wasteland of the Weimar Republic's Berlin. We meet Biberkopf at the end of a 4 year prison sentence for drunkenly beating to death his wife. This points to one of the main reasons Alexanderplatz is difficult to watch. It's centered around a character that, I can promise you, you will not like. Biberkopf is a drunk, a womanizer, a wife beater, a habitual criminal and a hypocrite, he shows little self control and little regard for the consequences of his behaviour, not for himself and not for the people around him. His most sympathethic character trait is, for all intents and purposes, how obviously mentally unwell he is, prone to uncontrolled fits of rage, mental breakdowns and various types of compulsive behaviour (random singing being one of the most notable ones). He is a man for whom it'd be difficult to survive, much less function, in any type of society, much less in the harsh environment of post WW1 Germany. Most of the story deals with him trying, and failing, to find stable employment, maintain a functional relationship or simply live an honest live. He ends up selling newspapers for the Nazi Party, along with some other things, eventually falls in with organized crime, from which he sustains a crippling injury and ends up living off of the earnings of his evenutal girlfriend whose name is Amelie, goes by Sonia and he calls Mieze (which means Kitten) who works as a prostitute. Biberkopf goes through quite a lot of women throughout the story, indicating, if nothing else, a period where life for a single woman was so miserable enough that even a lowlife like him seems like an attractive alternative. Some of these women being hand me downs from fellow crook Reinhold, who becomes a rather central character for the story and kind of a foil to Franz.
Berlin Alexanderplatz is a character study, mostly. Not entirely, Fassbinder also gets in his share of sociopolitical commentary mainly pertinent to the time it was set in.
If there is one thing Berlin Alexanderplatz makes clear is that 1920's Germany was a dreadful time to be alive. It's often overlooked, considering it was both preceded and followed by even worse time periods, but Weimar Germany was a time of poverty, crime and violence for most people. There were some promising cultural and artistic developments for sure, but those are not what Berlin Alexanderplatz was interested in. As a matter of fact, Berlin Alexanderplatz offers a solid 15 hours of pure, undiluted misery. Miserable people in a miserable place in a miserable time causing misery for themselves and each other. It's a very high quality production, fantastic, even, but it was one of the most actively depressing things I've ever sat through. By all means, it looks gorgeous, filmed on grainy 16mm film with sepia toned lighting that invokes old photographs, the best period accurate set design early 1980's german television could afford and a musical score that bridges the whimsical and the mournful. The actors do not only provide a wide range of regional German accents but also some truly visceral performances, most notably Günther Lamprecht playing Biberkopf, part emotionally unhinged brute, part childlike buffoon and his opposite Gottfried John as Reinhold, a weasely, stuttering crook who, in his own way, is no less mentally deranged.
What connects those two men for most of the series is an understated homoerotic subtext, which the finale eventually turns into text, that would appear to be one of the main reasons for their inability to live a normal. I do wonder whether that subtext was present in the original novel, or whether it based on the interpretation by director Fassbinder, who was openly bisexual and at the time of this poduction, in a homosexual relationship.It is fairly well known that the extended 2 hours epilogue, poetically named "My Dream of the Dream of Franz Biberkopf" Fassbinder's own invention which, for the record, is shouldn't surprise anyone who's seen it. Abandoning the modernist stylings of the previous 13 hours which, while frequently idiosyncratic, provided a relatively straight forward delivery of the depicted events, the epilogue jumps right into postmodernist subjectivity and hallucinatory imagery that invokes either Stanley Kubrick at his least or Alejandro Jodorowsky at his most coherent. Most of Alexanderplatz's finale delves into the the hallucination of Franz Biberkopf, now held in a mental institution, and features anachronistic visions of the future, twisted sexuality, altered versions of past events and apparitions of past characters and more religious symbolism than Hideaki Anno could think of, along with some other things I genuinely can't believe ever made it onto public German television. It certainly seems extremely experimental for its time, yet it's reflected in many later character driven works of fiction that seek to portray the mindscape of their central characters, whether their name is Tony Soprano, Bojack Horseman or Shinji Ikari.

Berlin Alexanderplatz offers insight into German post war cinema at its most ambitious, most sophisticated but also its least accesible. It's not, by any stretch, an enjoyable or entertaining watch. It's too commited to its own bleakness for that. Frankly, I could never read books like that either. Fassbinder depicts interwar Germany as a hell of its own making and its people as lost souls, both suffering and inflicting torment on each other. I could tell you how the series ends, but what's left unsaid is, of course, that the actual end of these characters is in the history books. Within a decade of Berlin Alexanderplatz's events, Germany would enter a period of brutal dictatorship and yet another war. Every suggestion that things might, in the short term, get better, was disproven by history. Fassbinder has neither compassion or contempt for that era and those people. The story took an interest in those people at their lowest, most pathethic and most despicable. And interest that does, in some way, seem more genuinely sympathethic than any actual display of compassion would. If there's one thing to be said about it, it will make you feel emotions. But they're probably not going to be very pleasant.
 
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XsjadoBlayde

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Boiling Point - (Netflix)
One of they there 'done in one single shot' type dealios of a film, set during a particularly troublesome evening shift at a highly-rated UK (possibly Manchester If the accents are anything to go by) restaurant. It's anxiety. Sorry, I meant it's pretty great. Overall an intense slice of life managing to squeeze all kinds of character-building details through stressed social interactions which all feel natural despite the inherent foreshadowing off the mere status of it being a film implying the night can't be a normal one.

The style works a little too well at trapping you within this social anxiety, sorry I meant fictional environment. Stephen Graham as the main protag is visibly strained, worn to his last tether, while the supporting cast are equally as believable in their roles with each their own moments to shine. At just a whisker over an hour, it mercifully let's you go and breathe or drink or breathe and drink and smoke, whatever settles those nerves.

I do wonder if watching this would help a few of those assholes who look down upon the staff that serve their products, often treating them horribly, whether it would inspire a little more empathy in them at all. Oh and thanks for teaching me of the new insufferable brand of customer society has birthed: the arrogant social media influencer brandishing their follower count to the staff, looking for superior treatment, so, umm... thanks!

Master - (Prime)
Girl goes to posh school in America somewhere with a very noticeable awkward racial disparity thing going on. Unsettling stuff happens, or doesn't happen, or is alluded to. Questions are asked, or hinted at, most are never answered clearly. And then it ends, or maybe doesn't? All this uncertainty is certainly by design, which most likely won't be enough to win over the mainstream audiences, but it is well made and what it chooses to resolve are kinda more subtle than what it might appear to want to resolve at first glance. I feel hesitant recommending it for most people I know who get easily frustrated with unclear narratives and endings. However, for cinephiles with a tad of patience it's worth a shot I reckon.
 
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Xprimentyl

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Moonfall

Wow, it's really dumb. Like, so dumb. Very, very, very dumb. Also, huge cocktease. I expected global scale destruction porn, but it left my balls blue as a smurf.
And the Oscar for most concise, direct and scathing movie review of 2022 goes to...

1648842056097.png

@Chimpzy !!! Pretty sure I have to see this film now to appreciate the gravity of its dumbness. Apparently, it's dumb, "very, very, very" much so. I'm actually kinda excited.
 
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Drathnoxis

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Woody was also kind of an unlikable jerk for a good chunk of Toy Story anyway. It's why I vastly prefer TS2 over 1.
Woody literally threw Buzz out the window in the original draft. I watched the DVD bonus documentary on it, but this youtube video might explain it too.



Edit: Actually here is the full Black Friday Reel. Without the superfluous speculation.


 
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SilentPony

Previously known as an alleged "Feather-Rustler"
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Corner of No and Where
Morbius.

Its good. I read the reviews, I expected a stinker with poor pacing, a bad script, bad acting, bad effects. Its good. Its a real good movie, better than the Ant Man movies, about on par with Dr. Strange or Black Panther. The plot works, the relationships are good, I saw a lot of reviews criticize the romance for feeling rushed and out of nowhere, but like from the moment they introduce the girl doctor you can tell they have the hots for one another.
The movie just works. The post credit scenes are pretty exciting too. Like apparently after No Way Home they reshot some scenes to have the ending of No Way Home happen, and now Morbius is in the same universe as Venom, and most likely Andrew Garfield's Spiderman. And yeah, color me more excited than I am for like The Marvels or Fantastic 4.

8/10 solid movie.
 

Johnny Novgorod

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The Beguiled (1971)

I'd seen the Sofia Coppola adaptation. The original one is nastier, hornier, sleazier, but that's 1971 for you. There's less of an enigma around McBurney: his claims about himself and his participation in the war are blatantly contradicted by flashbacks even as he makes them, and all the female characters have a penchant for plainly stating their thoughts in voice over. Not much room for ambiguity. Everything plays out more or less the same way. Biggest change in the Sofia Coppola version is the omission of a black slave character, perhaps because the race issue inconvenes Sofia's vision of white sisterhood being victimized. In the original McBurney tries charming the Southern slave character by comparing himself (a captive Yankee soldier) to her situation, which of course it's bullshit, and he calls him out on it. There's also repeated implications of an incestuous element to the Geraldine Page character that I don't remember being in the Nicole Kidman version, but I could be wrong about that.
 

Casual Shinji

Should've gone before we left.
Legacy
Jul 18, 2009
19,570
4,374
118
I've seen some bad superhero films in my time. Blade Trinity, Green Lantern, X-Men Apocalypse and Dark Phoenix and Origins: Wolverine, and all 4 Christopher Reeve Supermans and Superman Returns. Even some of the MCU rubbish.

I just finished watching The Suicide Squad.

Ahhhhhh, thank you. 😭
 

gorfias

Unrealistic but happy
Legacy
May 13, 2009
7,082
1,849
118
Country
USA
The Bubble on Netflix. A Judd Apatow movie. I loved this guy. What a flipping disgrace. What happened to him. Fantastic cast with so much going for it... and yet... F. 0/10. Soooooo awful.

 
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Piscian

Elite Member
Apr 28, 2020
1,627
1,657
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United States
Watched MoonFall last night. Hard to describe. Its very entertaining, but the writing is just hilariously bad. I was thinking to myself that it was almost like the script was in another language and then someone came in and translated it the day of shooting and they just kind of rolled with it. Youll really notice some dialogue is just not how Americans or any westerner would talk. Not sure if theres a story behind that. Even his previous films like Stargate and Independence Day had pretty snappy dialog. I really think theres a story behind this bizarre script.

Aside from that they dont just ignore basic science they just throw it completely out the window, however it is filmed in such a way that it manages to be fairly exciting throughout. I have a feeling at least one person in the scientific community will point out the idea of the moon being knocked out if it orbit in a real scenario would be far more interesting and entertaining. A miss opportunity because in a way the stakes feel lower because this is so goofy.

Watchable, but I checked my phone three times so 2/5.
 

Specter Von Baren

Annoying Green Gadfly
Legacy
Aug 25, 2013
5,632
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I don't know, send help!
Country
USA
Gender
Cuttlefish
Watched MoonFall last night. Hard to describe. Its very entertaining, but the writing is just hilariously bad. I was thinking to myself that it was almost like the script was in another language and then someone came in and translated it the day of shooting and they just kind of rolled with it. Youll really notice some dialogue is just not how Americans or any westerner would talk. Not sure if theres a story behind that. Even his previous films like Stargate and Independence Day had pretty snappy dialog. I really think theres a story behind this bizarre script.

Aside from that they dont just ignore basic science they just throw it completely out the window, however it is filmed in such a way that it manages to be fairly exciting throughout. I have a feeling at least one person in the scientific community will point out the idea of the moon being knocked out if it orbit in a real scenario would be far more interesting and entertaining. A miss opportunity because in a way the stakes feel lower because this is so goofy.

Watchable, but I checked my phone three times so 2/5.
Ok what even is this movie all of you are talking about?

(Reads Wiki synopsis)

...What?...
 
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