Discuss and Rate the Last Film You Watched

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thebobmaster

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Johnny Novgorod

Bebop Man
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Feb 9, 2012
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Drop

A man goes on the worst date of his life with a skittish woman who is constantly on her phone, insists on changing tables, can't decide on what to eat, goes through his stuff and steals his shit, tries poisoning his drink and eventually has him shot before running away and taking his car. Mortifying stuff.
 

Johnny Novgorod

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Reagan

Visionary director Sean McNamara (Casper Meets Wendy, Casper: A Friendly Beginning) takes the man, the myth, the legend and tells the story of how he single-handedly defeated communism in the final second of the final game of the season. "Tear down this wall" is shot and scored like it's Zoolander revealing Magnum, complete with reaction shots from around the world - Gorbachev bursts into tears, Thatcher goes "Well done, cowboy!" - I swear they could splice Mugatu gawking in awe at Reagan and you'd barely notice. Even the people who wrote the speech are high fiving back home like the Death Star just got blowed up.

Not doing the movie any favors is the framing device, in which a doddering, completely made up KGB stooge retells the life of Reagan to a house visit who comes asking how come the Soviet Union fell. This is like framing a Maradona biopic as a tale told by a doddering, completely made up British football player who's just been asked how come England hasn't won a world cup since 1966. Fellas, just tell the story. You don't have to frame your hagiography from the slavish perspective of an enemy-turned-believer. It's embarrassing.

Oh and the movie steals its only good joke (the only intentional one anyway) from Werner Herzog's Meeting Gorbachev documentary. For shame.
 
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thebobmaster

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thebobmaster

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Old_Hunter_77

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Eddington

I dunno!

This delightful clusterf*** of a movie by Ari Aster (Hereditary Midsommer) uses the vibes of a neo-Western like Hell or High Water and to expound on politics, COVID, conspiracy theory, fractured American culture, digital and social media obsessions, racism, anti-racism, anti-anti-racism, "the young people these days," tech, and guns. It throws them in a big blender of wtf and creates a movie so baffling that I'm not gonna rate it. Look up the reviews and it is the most deservedly "mixed" reception you can imagine.

Personally I enjoyed it, but I don't think it's very good. I mean it's certainly well made as I very much enjoy Aster's style of directing. It stars Joaquin Phoenix and I am a big fan of his- I mean no matter what you think of him you can't deny he is a presence on screen. Here he's like an oddball version of a Jeff Bridges character and I can watch that nonsense all day.

I almost quit the movie halfway through because the plots and themes were so all over the place that I was laughing at the movie not with it but then the big important plot turn happened and the movie turned into a thriller and Aster's indy-horror stylings kicked in and my attention was captured again.

Emma Stone and Pedro Pascal are in it and while I like them as actors their presence doesn't really mean much. This movie is about Phoenix, Aster, and Deirdre O'Connell who is one of those actresses you will recognize- she always plays some slightly wackadoodle drunk/crazy old lady and she delivers on that in spades here.

Recommended for those in the mood for some crazy but well executed bulls***
 
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Johnny Novgorod

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Bought 12 months of Paramount+ for the insane total of $3.74. It was a Black Friday thing and I'm sure regional pricing is involved too, but I'm willing to bet it's also because Paramount doesn't have much of anything going on, streaming-wise. It's mostly shows about cowboys and mobsters, for some reason. And on the movie front I've only seen a handful that interest me from like a year or two ago.

First watch was Friendship, which everyone will tell you is Cable Guy by way of Tim Robinson. You can rate Tim's performances based on just how socially functional his character is. He was an 8/10 in Chair Company (mainly because of everybody else being a nutjob too), here he hews closer to a 5 or 6. His thing is he's got nothing going on in his life - wife is cheating, son wants nothing to do with him, nobody likes him at work - until Paul Rudd's manic pixie weatherman moves in next door, charms the hell out of him and invites him to hang with friends. Before he can fantasize further about how his newfound FRIENDSHIP is going to change his life he alienates Rudd and co, then proceeds to spiral the fuck out as he loses everything he has (or thinks he does) in his life.

This wasn't quite as funny as I Think You Should Leave or Chair Company. It goes between funny and bleak, then bleaker, then kinda funny again. Some parts feel straight out of a Raymond Carver story. It's a comedy, but the plot tends to escalate by leaps and bounds like a dream or a bad trip. And there's something both endearing and annoying about the Robinson character. At his most adjusted he's like the missing link between David Brent and Michael Scott.
 
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thebobmaster

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Johnny Novgorod

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Right, end of the year nonsense:

Das Best

1. One Battle After Another
2. Weapons
3. Train Dreams
4. Friendship
5. Black Bag
6. 28 Years Later
7. Sinners
8. The Monkey
9. F1
10. Warfare
11. Mission Impossible - The Final Reckoning
12. Avatar: Fire and Ash

Das Wurst

1. War of the Worlds
2. Love Hurts
3. Flight Risk
4. Playdate
5. The Electric State
6. The Old Guard 2
7. Homo Argentum
8. I Know What You Did Last Summer
9. The Woman in Cabin 10
10. Locked
11. Happy Gilmore 2
12. Batman Azteca
 

Gordon_4

The Big Engine
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Apr 3, 2020
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Australia
Right, end of the year nonsense:

Das Best

1. One Battle After Another
2. Weapons
3. Train Dreams
4. Friendship
5. Black Bag
6. 28 Years Later
7. Sinners
8. The Monkey
9. F1
10. Warfare
11. Mission Impossible - The Final Reckoning
12. Avatar: Fire and Ash

Das Wurst

1. War of the Worlds
2. Love Hurts
3. Flight Risk
4. Playdate
5. The Electric State
6. The Old Guard 2
7. Homo Argentum
8. I Know What You Did Last Summer
9. The Woman in Cabin 10
10. Locked
11. Happy Gilmore 2
12. Batman Azteca
I still need to watch F1. Looked good in that Ford v. Ferrari way
 
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Gordon_4

The Big Engine
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I think Ford v. Ferrari has a bit more heart than F1, but still a fantastic A-lister vehicle/sports drama (with the usual disclaimer that I care very little for the sport itself irl).
I mean I never gave much of a shit about any car race that didn't take place on Mt. Panorama but a good movie is a good movie.
 

thebobmaster

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thebobmaster

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Johnny Novgorod

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Bugonia

Yorgos Lanthimos' fourth consecutive collab with Emma Stone (Marmaduke, Movie 43). Two incels kidnap the CEO of a pharmaceutical company and hold her hostage in their home, accusing her of being an alien and trying to get her to recall an impending invasion. William Friedkin's Bug meets John Carpenter's They Live. Ari Aster produces which guarantees at least one good decapitation.

It's a tighter movie than Kinds of Kindness and I think a great showcase for Stone and Jesse Plemons (the lead incel). The ending is stupendously goofy, but in a way that suits the movie.
 
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Bartholen

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Bugonia

The ending is stupendously goofy, but in a way that suits the movie.
I could not disagree more. To me the ending basically ruined the movie. For nearly 2 hours we watch this tense, uncomfortable and grounded depiction of what happens when someone falls into conspiracism and misinformation, and how dangerous those people are to themselves and to those around them. And then the ending is right out of a stoner comedy, and feels like it undercuts the entire film. The electrocution scene and the ending might as well be from completely different movies.

In other movies I saw The Mummy (1999) for the first time, 7/10

It's the Brendan Fraser classic about a group of various people entering a lost tomb of a mummy, and then all your usual mummy stuff ensues: curses, traps, treasure, action, the works. It's a movie characterized by contrasting opposites: it holds up incredibly well in some areas, and really poorly in others. The acting is all really good, but the script gets increasingly weak as the movie goes along. Its sets and practical stunts look fantastic, but the CG could not be more apparent.

Let's start with the good: Brendan Fraser is great, and in a more just world this should have catapulted his career into the stratosphere. He's got that Han Solo, Bruce Campbell style of charisma perfect for an action lead: competent, but not overpowered. Gruff, but not crass. Charming without seeming he's trying too hard. The acting overall is really good, and everyone knows exactly how to play this campy, over the top stuff. All the sets and practical effects look great, and the score is really great too. It achieves that earnest, childlike spirit of adventure in a similar way that Pirates of the Caribbean did a few years after this. It being also a period piece helps it from feeling dated stylewise. There's no winking to the camera, but it's still very tongue in cheek. It's basically the perfect movie for 11-year old boys: it's fun, action-packed, a little scary and a little sexy but not too much. I was grinning like an idiot in the first 15 minutes at just the sheer joyful energy of it.

Sadly it's not all roses here. For all its campy silliness, the script definitely occasionally fails to straddle the line, and falls into just plain stupid and ridiculous territory. Characters do the Evil Dead thing of sticking their hands in ancient artefacts and places with nary a thought or consideration. Weighty consequences are set up, but not properly paid off because this is a PG-13 movie. The movie starts out very grounded, but by the end a lot of its action devolves into being borderline cartoonish. The CG effects are probably top of the line for 1999 and they do look decent for their age, but the way in how they're constantly at the forefront and not even attempted to be hidden only draws more attention to their imperfections. For all its old-timey fun it's also old-fashioned in other ways: Rachel Weisz's character is pretty much just a stock damsel in distress/love interest, and the romance angle is really undercooked. It also feels like it escalates beyond its grasp: only about halfway through the movie we're already witnessing downright apocalyptic disasters brought on by the Mummy, but it feels like the film goes "Well shit, we're already at maximum and there's nowhere to go", and backpedals on how serious the threat is supposed to be. It smacks of a script that needed a bit more time to be ironed out.

It's still really fun and a classic for a reason, but it's definitely showing its age at this point.
 

thebobmaster

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I disagree about Evey's role just being the stock damsel in distress. Her knowledge of ancient Egyptian hieroglyphics is crucial to the climax. Without her there, despite how badass Rick is with a sword, there is no way they could have defeated the bad guy, plus she had far more personality than "stock" would imply. I see your point with the CGI effects to a degree as well, but if you watch some of the behind the scenes stuff, there was an astonishing amount of effort put into especially that same climax. Would you believe that not one of the skeletons you see there are even represented by guys in mocap suits? That's all Brendan Fraser.

ETA: Also, no mention of Kevin O'Connor as Beni? For shame.

"Hey, O'Connell! It looks to me like I have all the horses!" "Hey, Beni! It looks to me like you're on the wrong side of the river!"
 

Johnny Novgorod

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I could not disagree more. To me the ending basically ruined the movie. For nearly 2 hours we watch this tense, uncomfortable and grounded depiction of what happens when someone falls into conspiracism and misinformation, and how dangerous those people are to themselves and to those around them. And then the ending is right out of a stoner comedy, and feels like it undercuts the entire film. The electrocution scene and the ending might as well be from completely different movies.
It worked for me because I never really bought into the idea that we were going to watch a "tense, grounded" character study about a dude getting redpilled in the first place. I couldn't see Yorgos doing that movie (or imagine the Korean version before it). With the exception of Killing of a Sacred Deer all of his movies are quirky and kinda goofy once you get past how cold characters can be and how dehumanizing the plot is.

For the twist, it's a bit like Far Cry 5 where the doomsday nutjob was actually right all along. It's a bummer because these people are wrong and dangerous irl, but it's also kinda scary that they would be broken clocks twice a day. It doesn't take away from the fact that the Plemons character is still a victim of abuse and a monster who is willing to murder a whole bunch of innocent people to prove a point.

To me the movie got less interesting when it was revealed he was an employee at Emma Stone's company and that his mom had been rendered catatonic by their drug tryouts ("Oh, so that's why he's doing what he's doing"). And then interesting again when Emma doesn't leave the house once she can.
 

thebobmaster

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Bob_McMillan

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I found Knives Out 3 a huge improvement on the previous movie, and a return to roots for the franchise. The premise (an impossible murder of a "charistmatic" priest) is inherently less interesting than that of the first movie. But the core message of decent people doing good things overcoming assholes is still there, and I thought the protagonist Father Jud was the most compelling in the series so far.

It also really helps that the director was more restrained with real world references this time. That got REALLY old in the previous one.

One major criticism I had though is that the supporting cast is not very memorable, despite having a fairly stacked cast. Maybe this was needed in order to have a higher focus on the main characters, but I thought it was a little disappointing.
 
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