Discuss and Rate the Last Film You Watched

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Gordon_4

The Big Engine
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Apr 3, 2020
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Teenage Mutant Ninja Turtles III - 5/10

Okay to be fair I do like this movie, but I’m also aware that it isn’t very good. The plot is more fantastical than the previous two outings, where in the Turtles and April find themselves trading places with some samurai in 16th century Japan. Because April managed to buy a time sceptre at a market stall. As you do.

The funny thing is for all its faults, this movie was able to correct some missteps from Secret of the Ooze; the main one being the turtles use of their weapons. And while the suits in this one are cheap and very obviously rubber, they were more comfortable for the actors and made them better able to move and fight. The Splinter puppet though is a massive step down.

The other issue is the plot; the turtles find themselves involved in a conflict between a local daimyo and some rebels in his fief but one of the main players in this, rebellious ‘Prince’ Kenshin swapped with April and is thus just hanging out with Splinter and Casey Jones. The reason or cause of the rebellion is never really explained meaningfully.

Upshot is the casting with B-movie character actors Sab Shimino and Stuart Wilson as Daimyo Norinaga (see what they did there?) and Captain Walker. Both men acting as if they’re in a much less silly movie since the intrigue with them is about the sale of muskets and canons to crush this rebellion. There’s also an interesting story flourish with Elias Koteas playing both Casey and his own ancestor Whit, one of Walker’s men. Also while the film was wise to keep the scenes to a minimum, Casey and Splinter essentially babysitting five samurai is hilarious.

Also of note to me is the film (unintentionally I imagine) showcasing a serious growth in Leo’s skills as a swordsman. In the first movie he does okay against Shredder but Shredder manages to play with his emotions and use it against him. In this film Leo duels and defeats Lord Norinaga - clearly a man with a lifetime of training and practical experience in warfare - by not falling for a similar trick.

So even though the 1990 live action movie is legitimately the only film of the three that’s good as both a Turtles movie and a piece of cinema, both this and Secret of the Ooze are still fun outings, though I’d still rate Ooze higher. Baller soundtrack though.
 

thebobmaster

Elite Member
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Gordon_4

The Big Engine
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It’s interesting you chose the bullet scene - that Wonder Woman homages 40 years later - as the example of Reeve making the Clark/Superman divide believable. Most people, including myself, usually point to the scene in the apartment when he takes off the glasses; it’s like a whole other person materialises in the clothing. Power of acting, yo.

As pure “Superman” scenes go, I can never look past the first one when he saves Lois and catches the helicopter.
 
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thebobmaster

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It’s interesting you chose the bullet scene - that Wonder Woman homages 40 years later - as the example of Reeve making the Clark/Superman divide believable. Most people, including myself, usually point to the scene in the apartment when he takes off the glasses; it’s like a whole other person materialises in the clothing. Power of acting, yo.

As pure “Superman” scenes go, I can never look past the first one when he saves Lois and catches the helicopter.
I chose that scene just because it shows how quickly Reeve is able to switch between personas, while the scene you point to is the one that shows the difference maybe a bit more starkly.
 

thebobmaster

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Gordon_4

The Big Engine
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You know it’s funny, for some reason I thought The Rock was his first film considering all the stories I heard about the studio breathing down his neck to the point Sean Connery went in and flexed his not inconsiderable balls against them in Bay’s favour.

Still, solid movie.
 

thebobmaster

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The Rock was right after this one, and while this was a success, even Michael Bay himself said he was worried throughout The Rock that it would end up being a fluke.
 
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thebobmaster

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gorfias

Unrealistic but happy
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May 13, 2009
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It’s interesting you chose the bullet scene - that Wonder Woman homages 40 years later - as the example of Reeve making the Clark/Superman divide believable. Most people, including myself, usually point to the scene in the apartment when he takes off the glasses; it’s like a whole other person materialises in the clothing. Power of acting, yo.

As pure “Superman” scenes go, I can never look past the first one when he saves Lois and catches the helicopter.
I often write of the difference between humor, which I love, and silliness, which takes me out of the story. When 007, chased thru the jungle by people that want to murder him in Octopussy, he does a Tarzan yell. Stupid. Silly. People want to kill him requiring stealth. Maybe it can be explained but I'd have to work too hard to try to make it serious. "You've got me? Whose got you?" is a totally credible thing to ask under the circumstances and cracked me up. More of that please.
 

thebobmaster

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gorfias

Unrealistic but happy
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Monkey Man on Peacock +

It was good. Not great. C.

You have a super skinny protagonist. Dev Patel. The cops murdered a bunch of people who were peaceful and just sitting around watching a puppet show. He witnesses them murder his mom and goes on journey of revenge. This includes a montage that would make Rocky blush as the skinny Patel becomes someone we might believe maybe perhaps sort of kinda, could be an action character. The end.

Overlong, yet you still get the fun of watching, for a yank like me, a very different world.

Good watch if nothing else is on. BTW: some of it reminded me of "Hard Times" with Lee Marvin and Charles Bronson.

 

Bartholen

At age 6 I was born without a face
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South Park: Bigger, Longer & Uncut, 9/10

I went on a bit of a nostalgia trip for this one, but this one doesn't need nostalgia to prop it up. It holds up fucking great, and I can appreciate a lot more about it now than as a teenager. In an alternate universe where this was the end of South Park, it would have ended on one hell of a high note. There's a pervading sense of finality and going out with a bang to it: all the important characters get their own bits of screentime, and little arcs for them to complete in just the barely over 70 minutes this movie takes. The movie goes all out in its spectacle, pulling out all the stops for a proper movie blowout. Matt and Stone talk on the commentary about it feeling like a swan song for them during production, since SP had experienced a notable sophomore slump in its second season.

This really is a remarkably well crafted film. All the musical numbers are memorable and vital to the plot, it's incredbily tightly paced without feeling rushed, and the plot progression is tight as a drum. There's zero fat or wasted time, and the visuals are full of that old school South Park charm that I feel has been missing from the show for... actually most of its existence at this point. As much as Parker and Stone dislike this film and a lot of their earlier work, this is an essential part of not just SP itself, but the pop culture of the late 90s as well.
 
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PsychedelicDiamond

Wild at Heart and weird on top
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Jan 30, 2011
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Paperhouse (1988)

British psychological fantasy horror-but-only-kinda movie about a sick young girl suffering regular bouts of losing consciousness after which she ends up in a dream world based on her own drawings where she meets a disabled boy who might be a real person she's telepathically connected to.

Paperhouse is a classic example of a movie that's almost decent but just doesn't quite get there. It has very nice, kind of moody, surreal sets, a melancholy tone, some interesting plot beats that remain mostly underexplored but just doesn't quite live up to it. It's interesting to think about what exactly it is that keeps it from coming together as actually worthwhile. There is the fact that Charlotte Burke, as far as child actors go, isn't bad but also isn't really good enough to sell what the screenplay is asking from her. There is the fact that the sound design and soundtrack, one of Hans Zimmer's earliest jobs, is just a bit too abrasive for the moody tone it's going for.

Mostly though, there is the fact that the plot is structured in what feels like an awkward wave pattern that oscillates between short plateaus of interesting progression to extended lulls of not really very much at all happening, giving it an awkward stop-and-go pacing that makes it all but impossible to stay engaged all the way throughout. The movie climaxes in what feels like it's second third and then just sort of keeps going to something that feels like a second, much less impactful climax.

I don't know, it all just seems weirdly amateurish. It's not that there weren't some substantial themes to the movie, mostly revolving around the typical anxieties of childhood in regards to parental neglect and the fear of growing up and the first encounters with the concept of mortality but so many aspects that seem like they're trying to pay off on these themes aren't built up very well. The movies first climax revolves around the protagonists fears around her, mostly absent father which is treats as if it were a major part of her character but in reality was barely brought up at all beforehand. And that's what so much of the movie feels like.

All of which feels oddly jarring, considering how seriously the direction is taking itself. What I'm saying is, if this had looked like the low budget british made for tv drama that it's written like, I feel like there would have been a certain down to earth charm to it but considering it has that, honestly genuinely impressive, cool, sharp, kind of kubrickian style to it, especially during some of its later sequences that somewhat invoke The Shining, some of its hokey writing and acting and scoring stick out even more awkwardly.

Paperhouse is not a movie devoid of its virtues but I don't think it's able to transcend mediocrity. It has mood and atmosphere and some valid thematic ideas but it all just feels pretty undercooked. It's in an awkward spot where the production is too professional for it to feel like a well intentioned low budget experiment but the content is too unrefined to pass as the artsy prestige drama it would like to be. It feels, oddly, reminiscent of many of todays less refined attempts at prestige horror that are theoretically aware of what "elevated" horror has to look like and be about but can't quite pull it off. It's a valid effort but it didn't come together for me.
 

thebobmaster

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Bartholen

At age 6 I was born without a face
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Princess Mononoke

Second, the music and sound are amazing. Holy fucking shit, whoever composed the theme music deserves a medal. I already talked about the part where Ashitaka is riding through the land, but I don't think it would've been as powerful if it wasn't accompanied by that amazing score. I could literally listen to that song all day.

But the music from later part of the movie is also great, particularly the song in the end that promises a brighter future for both the humans and the forest spirits. The sound effects are quite great as well. That scene where Ashitaka shoots off both of bandit's arms felt so amazing because not only did it look like a powerful shot but it also sounded like a powerful shot. How about that scene where Lady Eboshi's soldiers are firing off the guns or bombs? Or that scene where the boar god succumbs to the curse?
Joe Hisaishi simply does not miss. It's a shame he's never really gone international with his career, he should absolutely be recognized up there with John Williams as one of the all time greatest movie composers. And Mononoke is IMO his finest work. Music is one of the most important elements to make a movie feel properly epic, and Hisaishi's work in Mononoke can only be matched by the LOTR films. I've seen it like 3 times in the theatre, and every time those opening notes play over that shot of the landscape chills just run down my spine. The theatre experience elevates the film into the stratosphere, it's absolutely magnificent.

Princess Mononoke was my first Ghibli movie. Imagine a 10 year old me seeing that in theaters back in September of 1999.
Mononoke being full of straight up nightmare fuel is one of my favorite parts of it. The opening battle with the demon, the creepy monkeys in the night, Okkoto vomiting up several bathtubs' worth of blood... I love when a movie that traumatizes kids is actually good and has a point to that traumatizing content.
 

Bob_McMillan

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Interesting that you liked this (ever so slightly) more than Phantom. I think for many, this is peak unwatchable Christensen and Portman.

Personally though, I always liked this one more as well. Ewan McGregor becomes the meme machine we know him as, and although my child brain made the clones look way cooler than they actually were, they were solidified my love for Star Wars.
 

thebobmaster

Elite Member
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gorfias

Unrealistic but happy
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I am only able to watch this snooze-fest by skipping to scenes I like. Particularly the Jango Fett scenes. His battle with Obi Wan in the rain, the depth charges. But seriously, but for those scenes, this movie bores the heck out of me.
 
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