I think the idea is that it's a terrible movie that everyone should have, and people like it. I feel this way about most of the highest grossing films, TBH.
Discuss and Rate the Last Film You Watched
- Thread starter Th3Ch33s3Cak3
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Except The Flash wasn't a high grossing film. Just the opposite, it was one of the biggest flops of the year.
I guess Michael Keaton clouded everyone's views of The Flash. It was better than Batman v Superman or the 1st Suicide Squad but that's not saying much.
Primal
Nic Cage is a big-game hunter looking to Pokemon a legendary white jaguar off the Amazon. Before you get excited, that's the first 5 minutes of the movie. The other 92 minutes are spent on a "container ship", which might as well be three warehouse sets, watching anonymous goons with Kevlar and toy M16s getting decimated by the animals from 1995's Jumanji and the psycho that broke them out. Cage shows up now and then to yell at either about how they're all fucked.
Nic Cage is a big-game hunter looking to Pokemon a legendary white jaguar off the Amazon. Before you get excited, that's the first 5 minutes of the movie. The other 92 minutes are spent on a "container ship", which might as well be three warehouse sets, watching anonymous goons with Kevlar and toy M16s getting decimated by the animals from 1995's Jumanji and the psycho that broke them out. Cage shows up now and then to yell at either about how they're all fucked.
Megalopolis
Destined to be ridiculed or admired (or both), I'll give this to Coppola: he made a movie.
Sometimes I'll watch a movie and think it could've been a show, or a show that could've been three movies, or I'll watch something that was better - or would be better - as a play or a book or a comic, or listen to a 4 minute voicemail from my sister that could've been a thumbs up emoji. Megalopolis could only ever be a movie. Not just a Francis Ford Coppola movie, but a movie at all. And this is more than I can say of other much better actual movies: Megalopolis exists in one form alone. There's value in that kind of purity.
Which isn't to say I wasn't bored out of my mind at times. I forget the quote but employ Tenet's "go with the flow", if you find anything flows at all. It doesn't have a plot so much as a manifesto, and that's where the move lives and dies.
It's basically a protracted stalemate between a young visionary architect and the conservative mayor of "New Rome", who wants nothing to do with the sci-fi utopia of Megalopolis. The architect is Cesar (Adam Driver), the mayor is Cicero (Giancarlo Esposito as Himself). And that's pretty much it. Analogies to America's decadence come and go in the form of a dozen stunted subplots, as do characters with ridiculous names that sound like they were cribbed from The Crying of Lot 49, like "Wow Platinum" and "Vesta Sweetwater".
So it's bloated and excessive and kitsch and baroque and it looks like a perfume commercial and everyone's having scenery for their three square meals. Well, I dunno. I wouldn't recommend it to anyone but guess I enjoyed myself when I wasn't bored and thinking of dinner.
Destined to be ridiculed or admired (or both), I'll give this to Coppola: he made a movie.
Sometimes I'll watch a movie and think it could've been a show, or a show that could've been three movies, or I'll watch something that was better - or would be better - as a play or a book or a comic, or listen to a 4 minute voicemail from my sister that could've been a thumbs up emoji. Megalopolis could only ever be a movie. Not just a Francis Ford Coppola movie, but a movie at all. And this is more than I can say of other much better actual movies: Megalopolis exists in one form alone. There's value in that kind of purity.
Which isn't to say I wasn't bored out of my mind at times. I forget the quote but employ Tenet's "go with the flow", if you find anything flows at all. It doesn't have a plot so much as a manifesto, and that's where the move lives and dies.
It's basically a protracted stalemate between a young visionary architect and the conservative mayor of "New Rome", who wants nothing to do with the sci-fi utopia of Megalopolis. The architect is Cesar (Adam Driver), the mayor is Cicero (Giancarlo Esposito as Himself). And that's pretty much it. Analogies to America's decadence come and go in the form of a dozen stunted subplots, as do characters with ridiculous names that sound like they were cribbed from The Crying of Lot 49, like "Wow Platinum" and "Vesta Sweetwater".
So it's bloated and excessive and kitsch and baroque and it looks like a perfume commercial and everyone's having scenery for their three square meals. Well, I dunno. I wouldn't recommend it to anyone but guess I enjoyed myself when I wasn't bored and thinking of dinner.
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A ★★★★½ review of The Wolf Man (1941)
“Even a man who is pure in heart and says his prayers by night, may become a wolf when the wolfbane blooms and the autumn moon is bright.” This film follows a man named Larry Talbot (Lon Chaney, Jr.), returning to his home of Talbot Castle after his brother dies to support his father Sir John...
letterboxd.com
Keeping Up With The Joneses: Fun / Great
A young couple (Zach Galifianakis and Isla Fisher) are living an idyllic, suburban life in their cul-de-sac along with their friendly and familiar neighbors when one day, a new couple moves in who ratchet "idyllic" up to 11. The wife (Gal Gadot) is unnaturally beautiful and exotic, the husband (Jon Hamm) is ruggedly handsome and cultured, and their near perfection brings out the insecurities of the neighbors, none more so than Fisher who immediately begins to suspect there's such a thing as "too" perfect, and starts spying on the new couple. She soon finds reason to believe her suspicions are correct, that the Joneses are NOT who they appear to be.
It's a movie; it made me laugh. Was weird seeing Galifianakis portraying a character that isn't basically Alan from The Hangover (i.e.: completely aloof and confident in his ineptitude,) but he still manages several legit funny, Alan-esque moments.
A young couple (Zach Galifianakis and Isla Fisher) are living an idyllic, suburban life in their cul-de-sac along with their friendly and familiar neighbors when one day, a new couple moves in who ratchet "idyllic" up to 11. The wife (Gal Gadot) is unnaturally beautiful and exotic, the husband (Jon Hamm) is ruggedly handsome and cultured, and their near perfection brings out the insecurities of the neighbors, none more so than Fisher who immediately begins to suspect there's such a thing as "too" perfect, and starts spying on the new couple. She soon finds reason to believe her suspicions are correct, that the Joneses are NOT who they appear to be.
It's a movie; it made me laugh. Was weird seeing Galifianakis portraying a character that isn't basically Alan from The Hangover (i.e.: completely aloof and confident in his ineptitude,) but he still manages several legit funny, Alan-esque moments.
A ★★★★½ review of Star Wars: The Last Jedi (2017)
“Amazing. Every word that you just said was wrong.” Like pretty much every Star Wars film (seriously, this is one of the most cursed franchises ever in terms of consistent production issues), this film did not have a completely smooth time. For one thing, it was planned from the start that JJ...
letterboxd.com
Last Voyage of the Demeter, 6/10
Nosferatu got me on a bit of a vampire kick, and this was on Amazon Prime so I decided to check it out. This is basically a movie about the ship voyage from Dracula that brings him to London. You could consider this a sort of companion piece to Nosferatu. It's alright. It's got a solid cast: Aisling Franciosi from The Nightingale, David Dastmalchian of "hey it's that guy!" fame, and Liam Cunningham aka Davos Seaworth. It's basically a closed setting thriller where people are getting picked off one by one, and it's a pretty good one. It's got solid production values, the acting's pretty good, and has some nice atmosphere to it. The ship setting is well realized and the design of Dracula himself is really good, if a bit CG-heavy towards the end.
Its issues include pacing, which can be a bit slow and repetitive in the first half. Some of the dialogue can be a bit clunky at times, but it gets better as the movie goes on. It's not the most subtle or original in its horror, it's all fairly predictable and familiar, but at least it's not overly dependent on jump scares. There could also be a fair bit more justification for the question of "why don't they just leave?" You can build the argument in your head, but it'd be nice if the movie addressed it.
It doesn't necessarily do anything revolutionary, but that's fine.
Nosferatu got me on a bit of a vampire kick, and this was on Amazon Prime so I decided to check it out. This is basically a movie about the ship voyage from Dracula that brings him to London. You could consider this a sort of companion piece to Nosferatu. It's alright. It's got a solid cast: Aisling Franciosi from The Nightingale, David Dastmalchian of "hey it's that guy!" fame, and Liam Cunningham aka Davos Seaworth. It's basically a closed setting thriller where people are getting picked off one by one, and it's a pretty good one. It's got solid production values, the acting's pretty good, and has some nice atmosphere to it. The ship setting is well realized and the design of Dracula himself is really good, if a bit CG-heavy towards the end.
Its issues include pacing, which can be a bit slow and repetitive in the first half. Some of the dialogue can be a bit clunky at times, but it gets better as the movie goes on. It's not the most subtle or original in its horror, it's all fairly predictable and familiar, but at least it's not overly dependent on jump scares. There could also be a fair bit more justification for the question of "why don't they just leave?" You can build the argument in your head, but it'd be nice if the movie addressed it.
It doesn't necessarily do anything revolutionary, but that's fine.