Discuss and Rate the Last Film You Watched

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Piscian

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I just finished the Green Knight (2021)

I'm happy to say it met and exceeded my hopes.

For those that don't know it's a sort of dark folktale about the nephew of a king. He's not a bad person exactly, he's very humble, but he's vain, self-involved, cowardly and a drunk. In his obsession with finding fame and becoming a knight he does something incredibly brash without thinking and is forced to go on a quest for penitence.

The film is gorgeous to look at. Pacing wise its not quite a slow burn, it's always moving forward, but you do need to accept that you're locked in for the journey and it's almost as much about the visuals as it is the story. I recommend watching with subtitles if you can because you need to be paying attention to understand the ending, there's no exposition dump. It reminded me almost more of Asian folklore or very Eastern European. Lot of Guillermo Del Toro influence in it.

Highly recommend if you love folktales and can enjoy more atmosphere driven storytelling, its awesome.
 

Bedinsis

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For comparison, you should watch the David Suchet version. That man played Poirot for 25 years and as far as I know aside from some of the short stories, they adapted all the novels.
Yeah, I have seen some of those movies. I think they seem a lot more closer in tone to the novels.
 

gorfias

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Saw this movie Falling Down


In the back of my mind this guy is literally the same character as Harold Smith from the Powerpuff Girls

Both really, really good. That is my favorite episode of the Powerpuff girls, though I should rewatch some if I can. Been like 15-20 years since I watched them with my kids.

I've written before they nearly let Barbara Hershey ruin the movie. She was tired of this being another disaffected white guy movie so she read her lines as if she was already afraid of the Douglas character. She shouldn't be. The point of the movie is that modern stresses on an ordinary guy are enough to turn him into the bad guy. If he's already a spouse abusing bad guy, there is no transformation and the movie loses its reason for being. Had she read them straight, acted stridently, she becomes part of the stressers. "You're behind on child support, so you don't get to see your child on her birthday."
 

09philj

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The point of the movie is that modern stresses on an ordinary guy are enough to turn him into the bad guy.
This is entirely the opposite point to the one the film is trying to make. Throughout the film they show how shitty everyone is to Prendergast is and how he's beaten down on, and then at the dénouement he still makes the case that having a crappy life is no excuse for what the Michael Douglas character did, and in the end Prendergast is the one who walks away because he's the better man. In contrast everything Prendergast and the audience learns about Michael Douglas's character is that he was already unstable while he was still married and employed. Him being a regular guy pushed too far is the self pitying story he tells himself and Prendergast is his antithesis there to show him that he isn't.
 

Bob_McMillan

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So we did indeed watch the rest of the Star Trek reboot trilogy, and my thoughts haven't really changed.

I know everyone hates Into Darkness, and by God is there some stupid writing, but as a generic action flick, I quite enjoy it. I've never watched Wrath of Khan, so I can't really relate to you all.

Having the crew more involved in Beyond was excellent, but it's somehow my least favorite of the three. The effects are noticeably worse, with so many sets looking like they belong in a TV show. The villain was pretty boring and confusing, like a worse version of Khan. But this movie gets bonus points for being the only in the trilogy not to introduce universe-breaking ideas (I'm looking at you, limitless range transporters and magic blood).
 
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BrawlMan

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I've never watched Wrath of Khan, so I can't really relate to you all.
Watch it at least once. I say this and I'm not a big Trek fan.

This is entirely the opposite point to the one the film is trying to make. Throughout the film they show how shitty everyone is to Prendergast is and how he's beaten down on, and then at the dénouement he still makes the case that having a crappy life is no excuse for what the Michael Douglas character did, and in the end Prendergast is the one who walks away because he's the better man. In contrast everything Prendergast and the audience learns about Michael Douglas's character is that he was already unstable while he was still married and employed. Him being a regular guy pushed too far is the self pitying story he tells himself and Prendergast is his antithesis there to show him that he isn't.
Exactly. We have another case of sympathizing too much with the main character and misaimed fandom that misses the entire point. That is the whole point of "I'm the bad guy scene?". How the fuck do people keep missing the point of that scene? Even as a kid (I was 10 when I saw it on HBO), I could tell something was off with D-Fens, even if I could not put my finger on it.

 

Gordon_4

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How the fuck do people keep missing the point of that scene?
Same reason American History X has a massive fanbase with actual Neo Nazi skinheads. Or all those knuckleheads who think starting actual Fight Clubs is a brilliant idea. Or all the hapless sodbaskets who insist Heisenberg is a hero and Tony Soprano did nothing wrong.
 

BrawlMan

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Same reason American History X has a massive fanbase with actual Neo Nazi skinheads. Or all those knuckleheads who think starting actual Fight Clubs is a brilliant idea. Or all the hapless sodbaskets who insist Heisenberg is a hero and Tony Soprano did nothing wrong.
It was mostly rhetorical, but thank you any way. At least the Fight Club assholes only lasted a couple of months. They realized, "Oh shit, bare handed punches actually fucking hurt!". I remember when the reports of fight clubs breaking out or increasing, because of the movie. There was also some guy that was mad, because of "false advertising" and not enough fighting in the movie. Idiot.
 

gorfias

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This is entirely the opposite point to the one the film is trying to make. Throughout the film they show how shitty everyone is to Prendergast is and how he's beaten down on, and then at the dénouement he still makes the case that having a crappy life is no excuse for what the Michael Douglas character did, and in the end Prendergast is the one who walks away because he's the better man. In contrast everything Prendergast and the audience learns about Michael Douglas's character is that he was already unstable while he was still married and employed. Him being a regular guy pushed too far is the self pitying story he tells himself and Prendergast is his antithesis there to show him that he isn't.
Think Batman: the Killing Joke. Both Batman and Joker had a bad day (as does Gordon) but only Joker turns into a monster. The bad day is an explanation but not an excuse.

Joker does not start out in that story as a bad man. Some people are just less durable than others.

Make Joker a bad person to start, you diminish the story.
 
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Piscian

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This is entirely the opposite point to the one the film is trying to make. Throughout the film they show how shitty everyone is to Prendergast is and how he's beaten down on, and then at the dénouement he still makes the case that having a crappy life is no excuse for what the Michael Douglas character did, and in the end Prendergast is the one who walks away because he's the better man. In contrast everything Prendergast and the audience learns about Michael Douglas's character is that he was already unstable while he was still married and employed. Him being a regular guy pushed too far is the self pitying story he tells himself and Prendergast is his antithesis there to show him that he isn't.
Falling down is one of my all time favorite movies and I agree with this perspective. I think by the end of movie he, to some extent, comes to his senses and acknowledges that he's not above or different than the other people he meets throughout the movie. I think it really hits him when he takes that family hostage by accident. That he was responsible for losing his job and family, he cant blame society. I think people get a lot of enjoyment seeing the havoc he causes, but there's a tint to every scene acknowledging that he's fucking up people's days who didn't deserve it.

I think if you're not reading between the lines it's easy to assume this is a society revenge porn. It bums me out because I think the film never really got the accolades it deserved because of that misunderstanding. Michael Douglas is also amazing in it.
 
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Piscian

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Same reason American History X has a massive fanbase with actual Neo Nazi skinheads. Or all those knuckleheads who think starting actual Fight Clubs is a brilliant idea. Or all the hapless sodbaskets who insist Heisenberg is a hero and Tony Soprano did nothing wrong.
Sadly I can confirm the pull of the excitement and camaraderie seen in the film is a heavy draw for poor angry white kids who aren't developed enough to contemplate the message. Not so much American History X, but Romper Stomper tends to be very popular in those circles despite also having a similar message about the nihilistic self-defeating nature of those lifestyles. The city I grew up in was still segregated until the 90s and the KKK and neo-nazis were always hanging around looking to recruit kids who didn't get sucked into skate and punk culture.
 
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Casual Shinji

Should've gone before we left.
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I just watched The Suicide Squad and it wasn't very good. This felt like James Gunn just getting a paycheck, Warner Bros. telling to to just do that Guardians thing again for their movie. Birds of Prey was better and I didn't even like that movie much either. It's not all terrible, I liked Micheal Rooker getting introduced as the regular hardened veteran, only for him to run away scared. Though that was probably my favorite part of the movie and it was at the very beginning.

Harley Quinn had no purpose other than to be Harley Quinn, she had zero character arc or plot relevance. On the one hand, it is kinda nice to see a female comicbook character be this popular that her presence is demanded. She's also refreshingly not sexualized. On the other, why the hell is she even here, seriously? And for as much as Margot Robbie is apparently one of the best casting choices for a character ever, her Harley is really one of my least favorite depictions of the character. I'd take the Injustice 2 Harley of Robbie's I'm sorry to say.

I also don't get what Ratcatcher 2's deal was. She can control rats, but she needs a little remote to do so... Why not give the remote to someone who is actually loyal and well trained for combat?

Then there's a scene between Peacemaker and Bloodsport where they're trying to out killcount eachother, but the scene is shot in a way where as the camera follows them through a camp we see the mooks coming into frame in a way where they're totally just looking at their comrades getting murdered and apparently just standing their doing nothing. Weird.

Another problem I had was how the movie screamingly telegraphs a character's death mere seconds before it happens, but treats it as this shocking surprise, punctuating it with a loud shot or crash to make sure the aundience actually does get shocked. It's annoying, it's not genuinely surprising, and you're just forcing that surprising jolt with a loud bang, not actual good editing or storytelling.

This movie kinda blows.
 

Bob_McMillan

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Maybe this belongs on the cartoon/animu thread, but hey I'm here already.

Witcher: Nightmare of the Wolf. Meh. Was just alright. Castlevania but the Witcher universe.

Has some great animation, but as a fan of the Witcher series, this origin story of the fall of Kaer Morhen was pretty lame. Ever wondered what the Witchers were like during their prime? Not any fucking different apparently. There was a lot they could have explored, but all we got to see was Vesemir being a cocky asshole for an hour. My girlfriend gave it a 6/10, and I agree.
 
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Xprimentyl

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Reminiscence: Good / Great

In a nigh dystopian future wherein coastal cities have been all but reclaimed by the oceans, Hugh Jackman runs a business in Miami that allows people to willingly relive their memories and one in which he's routinely tasked with extracting memories for legal purposes. One day, a dame (because the whole thing has a very noire vibe) walks into his business and changes his life. We soon learn she disappears, and his obsession with their brief affair leads him down a very deep rabbit hole...

Since he's been the subject of recent conversations I've had in these threads recently, I must say, this feels very much like a Christopher Nolan joint, i.e.: convolution for convolution's sake. But it's not bad (not nearly as hard to follow as Tenet); it's actually rather good. It has spectacle, interesting characters, and there's a moment of retribution that is particularly dark and satisfying. But more importantly, it inadvertently acts as a thought experiment. I kept wondering, if I could relive my fondest memories, what would they be? What moment in my life would I like to revisit with the vividness of the actual moment?
 
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Xprimentyl

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Sweet Girl: Good / Great

Jason Momoa plays a happy family man; his teenaged daughter and wife adore him, each other and he them. Their happiness is rocked when the wife's cancer unexpectedly comes out of remission with a dire outlook. A ray of hope presents itself in the form of a new drug that could save her, but the mechanisms of Big Pharma see the drug delayed, and the wife dies. Momoa, clearly upset, sets out to find the CEO of the company that delayed the drug, an altercation happens, and Momoa and his daughter find themselves on the run.

Surprisingly good if a bit same-y when compared to a lot of the "lone man out for revenge against shady figures" trope. Kinda feels like a poor man's Taken, but it pulls it off really well. And it has an interesting twist I personally didn't see coming, and it does something unique in that it doesn't drop a bombshell and roll credits; it plays out for another good 20-25 minutes. Also, it's like the only Momoa film where he's not there just to be eye candy for every middle-aged housewife on the planet; I don't think you see his bare chest a single time, believe it or not. I'd recommend it.
 
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Bob_McMillan

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Sweet Girl: Good / Great

Jason Momoa plays a happy family man; his teenaged daughter and wife adore him, each other and he them. Their happiness is rocked when the wife's cancer unexpectedly comes out of remission with a dire outlook. A ray of hope presents itself in the form of a new drug that could save her, but the mechanisms of Big Pharma see the drug delayed, and the wife dies. Momoa, clearly upset, sets out to find the CEO of the company that delayed the drug, an altercation happens, and Momoa and his daughter find themselves on the run.

Surprisingly good if a bit same-y when compared to a lot of the "lone man out for revenge against shady figures" trope. Kinda feels like a poor man's Taken, but it pulls it off really well. And it has an interesting twist I personally didn't see coming, and it does something unique in that it doesn't drop a bombshell and roll credits; it plays out for another good 20-25 minutes. Also, it's like the only Momoa film where he's not there just to be eye candy for every middle-aged housewife on the planet; I don't think you see his bare chest a single time, believe it or not. I'd recommend it.
Huh, we were going to watch it for Film Friday but when I looked up the reviews, they were pretty bad. Maybe we'll try again.
 
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Xprimentyl

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Huh, we were going to watch it for Film Friday but when I looked up the reviews, they were pretty bad. Maybe we'll try again.
I saw the reviews after the fact; I don't like other's opinions tainting my experience. Most of the complaints are that it IS the type of plot that has been fairly exhausted over the past few years, has certainly been done better, but has even more certainly been done worse. Just because you're tired of a thing doesn't make the latest iteration of that thing "bad" and doesn't merit giving it such a low score. It's a well executed film; I'd give it a solid C+ to a B-. Will it blow your mind? Probably not, but neither will it shit in your mouth.
 
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laggyteabag

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Snake Eyes

A briefly entertaining, but deeply flawed movie.

SPOILERS, if you care (you probably don't)

The film opens with a kid, and his dad. Some men break into their house, and they capture the Dad. The leader of the group has some dice, and proposes a game where if the Dad rolls higher than he does, he lives. The Dad rolls a one on both dice - Snake Eyes. The man executes the Dad, and the kid runs away.

Some years pass. The kid, now a man - and known as Snake Eyes, because he is "unlucky" - is working for the Yakuza. Him and his friend Tommy escape, after the Yakuza boss discovers Tommy's identity, and tries to kill him. After the escape, Tommy reveals that he is actually super rich, and next-in-line to be the leader of a ninja clan in Japan. This clan exists to protect an Infinity Stone Sun Stone, which they must never use themselves.

After returning to the clan, Tommy tells Snake Eyes that he would like to recruit him into the clan for saving him from the Yakuza, but he must first complete 3 challenges to prove his skills/honour. Snake Eyes accepts. At night, Snake Eyes drives into Tokyo. In Tokyo, it is revealed that he was planted there by the Yakuza, and an organisation called Cobra. They tell him that if he steals the Sun Stone, they will give him the man who killed his Dad.

Snake Eyes does a challenge for the clan, has second thoughts about betraying them, then he goes back to the Yakuza/Cobra to tell them that the deal is off, and then they convince him to keep on going with some more details on his Dad's killer. This scenario happens twice, verbatim.

In one challenge, he has a vision of his Dad who says that he doesn't want to be avenged. He is just happy that Snake Eyes survived. Naturally, Snake Eyes ignores this advice, and proceeds with the whole revenge thing.

So the final challenge comes up, Snake Eyes fails it because "he is not pure of heart", or whatever. At night, he steals the Sun Stone. The clan finds out, and Tommy leaves to kill Snake Eyes. Meanwhile, Snake Eyes gives the Yakuza/Cobra the Stone, and they hand over his Dad's killer. Whilst Snake Eyes in interrogating the man, he confesses that his Dad was killed because Cobra ordered it. Snake Eyes has a change of heart, frees his Dad's killer, and goes after Yakuza/Cobra.

Tommy and Snake Eyes encounter each other on the road. Tommy attacks, and after a brief battle, he realises they are both on the same side, and the Yakuza/Cobra are going to attack his home. They form an uneasy alliance, and return to the clan.

The Yakuza/Cobra attack the clan. The Yakuza betray Cobra by refusing to give up the stone. Snake Eyes, the clan, Tommy, and Cobra form an uneasy alliance to defeat the Yakuza. Tommy uses the Stone to try and kill the Yakuza boss. Tommy's mother chastises him for using the stone, and strips him of his birthright. Tommy leaves.

Snake Eyes chases down the Yakuza boss, and kills him. He coincidentally also retakes the third challenge, which he previously failed, and succeeds.

In the epilogue, a representative from GI Joe arrives and tells Snake Eyes that his Dad was one of them, and he can join too. Snake Eyes mulls it over, but decides that he needs to track down Tommy. The clan gives Snake Eyes his costume, and the film ends.

In a post-credits scene, Tommy is on a plane, when Cobra approaches him, and asks him to work with them. He says yes, and they should call him "Storm Shadow".

Some other things to note:

The fight choreography seemed well-done, but the camera worked never really attempted to show it off.

Henry Golding cannot hold an American accent to save his life, and often reverted back to British half-way through a sentence.

There were lots of painfully obvious reveals, that the film wanted me to act all surprised about when they finally happen.

The film does that thing where the character only gets their suit/powers *right at the end of the movie*, so there is no time to actually try and enjoy it.

The Baroness character looks like she crawled right out of 2002.

I was always curious as to why in most superhero movies, the characters don't really get called their superhero names. Having spent an entire movie with a character who is always referred to as Snake Eyes or Snake - as well as Storm Shadow - I now completely understand why.

The CGI was sometimes acceptable, and sometimes really dodgy
 
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