Discuss and Rate the Last Film You Watched

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SckizoBoy

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Catching up on MCU stuff (Black Panther, Infinity War & Captain Marvel so far)... they're OK. I guess? Very little inclination to watch them a second time (except for a few excerpts of soundtracks). *shrug*

I looked at the synopsis of Ant Man & the Wasp and wondered if I should even bother, hence skipping it for Captain Marvel. Good idea?
 

09philj

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Dune
It's a very well made film, full of striking visuals. A film about huge things that feels genuinely huge, and yet is carefully restrained, but isn't boring despite how long it is.
 

Hawki

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I looked at the synopsis of Ant Man & the Wasp and wondered if I should even bother, hence skipping it for Captain Marvel. Good idea?
Ant-Man and the Wasp is one of my favourite MCU films - IIRC, it's the #3 film. It's absolutely hilarous IMO.

On the other, that seems to be a minority opinion.
 

Agema

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Dune (2021)

Denis Villeneuve was probably the right director for the job. It's a very visually pleasing journey through the novel which is arguable the Lord of the Rings of SF. I was pretty satisfied with it. But I didn't ever quite feel it was great. Good cast, decent script, very beautiful, and for those who it might be important to, close to the source book.

Probably my biggest complaint is that it plods quite badly in the last third. Which is perhaps odd, given that's where most of the action is. There's the point where House Atreides is annihilated, and then the rest seems to be mostly getting in some requisite actions scenes for the crowd out there who need their fix of action sequences. I cannot help but feel this could have been drastically winnowed down for a shorter, tighter film.
 
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Johnny Novgorod

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Batman: The Long Halloween, Parts 1 & 2

It's a pretty good adaptation of the comic. They change a few things here and there to keep the whodunit fresh but otherwise pretty faithful. Animation is a bit stiff sometimes, some weird CG here and there, but the action's fun. Features some pretty cool gadget use, which I feel doesn't come up that often in Batman fights anymore. And the movie does well to depict Batman still rough around the edges - can't quite stick the landings just yet, gets his ass handed routinely - although for the most part there's not a lot of action going on. Overall liked him and Catwoman in this. They felt more human than usual, and not like they were acting for each other in their typical edgelord "I'm not allowed to be happy" bs.
 

Bob_McMillan

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Batman: The Long Halloween, Parts 1 & 2
Oh is the second part out already? That's cool, I should check it out.

I'm not sure the new DCAU cell shaded look works that great for Batman, at least in motion. Both the Superman movie and the Flash/Justice Society movie made in the same artstyle had impressive action sequences. While I get that this is meant to be a more grounded Batman story, the action scenes we did have in Part 1 felt a little underwhelming. I will say though, it's nice to have solid voice acting in the DCAU again.
 
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SckizoBoy

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Ant-Man and the Wasp is one of my favourite MCU films - IIRC, it's the #3 film. It's absolutely hilarous IMO.

On the other, that seems to be a minority opinion.
Eeeehhh, not too much of a fan of the humour in MCU unless it's coming from Samuel L and his dry quips(!) Captain Marvel could be a rather cringe-y at times (it was alright, I enjoyed it in aggregate). Now I've just learned it has Michelle Pfeiffer in it, I may just watch it for her (minor part though it may be AFAIK).
 

Bob_McMillan

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Eeeehhh, not too much of a fan of the humour in MCU unless it's coming from Samuel L and his dry quips(!) Captain Marvel could be a rather cringe-y at times (it was alright, I enjoyed it in aggregate). Now I've just learned it has Michelle Pfeiffer in it, I may just watch it for her (minor part though it may be AFAIK).
Ant-man and the Wasp is a little bit different from the usual MCU humor, in that comedy is the main focus most of the time. Instead of distracting moments in otherwise serious scenes, ala Age of Ultron. But yes, Michelle Pfeiffer has a very small role in this.
 

Bedinsis

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I just watched Medusa.

I walked in on it mostly unaware of what to expect, other than it being a Brazilian satire.

Having watched it, I'd say it's an... odd film. The way it's shot made me uncertain whether certain scenes are meant to actually be happening or just be a dream of one of the characters. Given that it is a film where supernatural elements eventually creep into the plot I suspect that my disorientation was intentional. The director often choose to have the camera zoomed in on one character in the centre of the screen, looking directly into the camera, or have tracking shots where we're right behind the character, also in the middle of the screen. There were also plenty of instances where this perspective was employed where it eventually revealed via zoom out that we're actually watching a video on a cellphone, and it turns out we're actually having a subjective view of a character in the plot.

I speak a lot about how it was shot because that's the thing that stuck most with me. No shot was bad looking, and I was never bored while watching it, but it focused so much on letting the shots speak wordlessly that normal logic felt underdeveloped and it felt like a film carried by dream logic.

Anyway: the plot. The movie starts out with a zoom in of a woman doing sensual dancing with fixed eye contact with the camera, which is revealed via zoom out to be viewed by a woman riding a bus. The woman eventually leaves the bus and seems scared while walking through a dangerous neighbourhood. A well founded fear, as things turns out, because she is eventually confronted by a gang of masked women who calls her a slut and a sinner and beats her up and eventually forces her to admit to being a sinner in front of a camera and wanting to let Jesus into her heart.

One of the masked women turns out to be our protagonist.

The rest of the plot revolves what sort of life the people that would willingly be part of a church that would tacitly sanction such actions is like, and what happens when the supernatural make people break away from dogma.

I spent a lot of the movie not knowing where it was going, both due to it having enough plot elements that either one could turn out to be the important ones and because as stated earlier some scenes straddles the line between reality/unreality/subjectivity/objectivity. I kind of liked that, to sit and try to interpret where it was going, so therefore I will remain silent about the rest of the plot. I will say though, that if you expect the movie to eventually explain what's going on regarding the supernatural you will be disappointed.

I enjoyed it, but I doubt I will rewatch it.
 

Bartholen

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Evil Dead 2, 8/10

After watching the original and the remake, this was a natural follow-up. Going to see Army of Darkness soon as well.

This is kind of an odd one. In certain respects it's essentially just the same movie again, but with a way bigger budget this time. But it also kind of feels like a bastardization of the original (and that's not a knock on the film), where it turns into basically a cartoon movie that's impossible to take seriously, and very surprisingly to me, is actually a lot more tame in the gore. It was a bit of whiplash for me because the original is genuinely tense in parts, only getting goofy in the second half, whereas this goes full slapstick right out of the gate. In a way this and the 2013 remake feel like the ends of two different branching paths that follow from the original: in one you play it straight, and emphasize the gore and horror elements, and in another you turn up the slapstick and goofiness.

The film itself took some time getting settled into. Since I was under the assumption that it was essentially a remake of the original, the speed at which it basically recapped the events of the first film was very jarring at first. "Whoa, this is going way fast! There's no characterization at all. Wait, he already decapitated his girlfriend? Slow dooooown!" The fact that it's at the same time a sequel and a pseudo-remake gives it a pretty strange structure, where the first 15-20 minutes feel like an ending sequence to another movie, and whatever little plot there is only starts when we see the couple at the airport.

After that initial hurdle the film was very enjoyable though. You can just feel the energy the filmmakers had when they were working with an actual budget, and could do all sorts of fun stuff. This movie oozes old school filmmaking charm: stop motion animation, miniatures, matte paintings and puppetry are all out here, and it's so much fun. Bruce Campbell feels like the final evolution of a decent starter pokemon here. He just radiates charm and charisma, and his physical slapstick acting is a riot. He definitely lives up to his last name, because he manages to hit the exact right register of camp needed to sell the more emotional moments.

One thing I feel conflicted on is how this movie is a lot more tame gore-wise than the original. A lot of the big moments are just straight up off screen, like Ash sawing his hand off. It doesn't necessarily detract from the film, but seeing as I've recently realized that I quite enjoy well done splatter, and the original is still quite shocking even 40 years later, I was definitely expecting it to be amped up more. One scene that definitely felt distracting was when the walls started gushing blood. It was so clearly just colored water, both in color and consistency that I felt kind of cheated. The blood otherwise looks very good, so to have it looking that fake in that one scene took me out of it a bit.

Overall though, this film was pretty much everything I could have expected and wanted out of a sequel. It's bigger, goofier, the effects and makeup have gone from okay to amazing and Bruce Campbell is a blast to watch.

On to Army of Darkness now.
 
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Dwarvenhobble

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If the directors had only perfunctory impact on the final movie it would be pointless for Marvel to seek out different directors for their various movies. Looking over the trailer for Chloe Zhao's Oscar winner Nomadland makes me think she's a director that uses landscape imagery as part of her film making, so even if it is more proper to credit the CGI artists for whatever visuals are present, they wouldn't be there without someone ordering them been made, someone choosing to let that be a part of the film.
Directors are little more than casting stunts for Marvel. Movies are already long in the making before they sign them up. Chloe Zhao is a cheap, freshly Oscarized indie director ready to sell out, lend some clout and also plug the movie in the Chinese market.
I was with you mostly right up until the last bit about China where she's actually unpersoned by the government basically in China for daring to be critical of the CCP so it's not going to be shown in China almost certainly.

I will say that the directors have some impact but it's mostly touches here and there. It's not anything to the scale that you can go "Yes this is a Michael Bay film there's been 15 explosions, Yes this is a Tarantino films it's had a lot of violence and and odd amount of feet shots, yes this is a Zack Snyder film it's got a somewhat desaturated colour palette and an overuse of slow mo.

Marvel tends to have Joss Whedon having a bit more humour and some bad slapstick moments happen. Taika Waititi has a bit more colour happen. James Gunn has his films be a little more edgy but only in the fact the heroes aren't some great team all the time and a little more gore allowance. It's very small changes if any at all allowed.



"There's a landscape" is not an auteurish trademark. It's just a second unit selling vistas and pickups they probably shot a while ago, before they even knew what they'd use them for. If you think pointing to a desert is a Chloe Zhao trademark, she's directed thousands of movies.

This isn't to knock Zhao, but none of the things that make her a good director are going to shine in a movie like this. She's a hired hand. The people calling the shots are the higher ups at Disney. She's just there to make it look like actual artistic vision went into movie number 26.
I'd argue landscape shots are but it's very much "I'm an indie director look at me be thoughtful and deep by showing this landscape to make you think" It's also a good way to pad run times for not so much money in indie films.
The Green Knight does it
Archive (Indie UK made Sci-Fi does it)
Ex-Machina did it

I'm sure plenty more do it too.
 

Agema

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This isn't to knock Zhao, but none of the things that make her a good director are going to shine in a movie like this. She's a hired hand. The people calling the shots are the higher ups at Disney. She's just there to make it look like actual artistic vision went into movie number 26.
I'm not sure it's quite that bad. There is a certain format to Marvel movies such that they are all very similiar and most of the directors have been safe and reliable workhorses, but I would argue Taika Waititi's contribution (Thor 2/3?) very much has some of his distinctive style to it. By the time I watched that I was bored stupid with Marvel movies, but that difference allowed it to hold my attention significantly more.

With Chloe Zhao, I don't think we've seen anything like enough of her to really know what her style is (nor might it be well developed so early in her career), so it would probably be quite hard to tell. But it's a smart move for her: banking a big movie straight after an Oscar should grant her a good few years of creative freedom.
 

Bedinsis

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Oh, hey fellas, The Escapist's resident film critic Darren Mooney dropped an article regarding Chloé Zhao's role as a director contra Marvel in the making of Eternals:
 
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Bartholen

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Oh, hey fellas, The Escapist's reisdent film critic Darren Mooney dropped an article regarding this Chloé Zhao's role as a director contra Marvel in the making of Eternals:
Well, if Zhao indeed had a greater extent of control over the film than usual then good on her, and my comment about the visuals was also unfounded. Makes the tweets slightly less cringy. Only slightly though.

However, one thing jumped out at me in the article:
When the film degenerates into the obligatory company-mandated third act computer-generated action climax, it is the best example of such a throwdown since the end of Black Panther.
I haven't seen Black Panther myself, but I have seen clips of the final fight, as well as the massive amount of clowning on said final fight. Was there some great contingent of the moviegoing audience that held the final battle of that film as some sort of Marvel highlight?
 
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Hawki

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I haven't seen Black Panther myself, but I have seen clips of the final fight, as well as the massive amount of clowning on said final fight. Was there some great contingent of the moviegoing audience that held the final battle of that film as some sort of Marvel highlight?
Not to my knowledge.

There's a lot good about Black Panther, but the final fight isn't one of them. This is meant to be the battle for the future of Wakanda, and instead it just comes off as a hillside skirmish.
 

Gordon_4

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The Gentlemen - 9/10

Its Guy Ritchie doing his thing, either you're on board or you're not. I was on board, and I had a fucking ball. Its a good laugh - MVP is a three way split between Hugh Grant, Charlie Hunnam and Colin Farrell - and has that stylistic Ritchie look for everything.
 
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Johnny Novgorod

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I'm not sure it's quite that bad. There is a certain format to Marvel movies such that they are all very similiar and most of the directors have been safe and reliable workhorses, but I would argue Taika Waititi's contribution (Thor 2/3?) very much has some of his distinctive style to it. By the time I watched that I was bored stupid with Marvel movies, but that difference allowed it to hold my attention significantly more.

With Chloe Zhao, I don't think we've seen anything like enough of her to really know what her style is (nor might it be well developed so early in her career), so it would probably be quite hard to tell. But it's a smart move for her: banking a big movie straight after an Oscar should grant her a good few years of creative freedom.
She's made three movies already. I've only seen the last two but I'd pick on a style just from Nomadland alone. And I just don't see it in this CG epic about space robots fighting space aliens at the behest of space gods, with the usual snarky Joss Whedon drama/beat/lol humor only slightly toned down and the supposed shoot on location, which I don't buy for a moment. If these are all on a spectrum of seriousness I'd rank this one pretty dour but not to the point of making me believe the director made a huge difference. We just got a different barista.
 

Thaluikhain

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Next of Kin (1942)

Originally intended to be a training film about not talking or Nazis will hear you, they decided to throw more money into it and turn it into a movie (about people talking and Nazis hearing them). Pretty well done, though a bit long, the US version cuts bit out and stick J Edgar Hoover giving short speeches in.
 

Hawki

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Batman/Superman: Public Enemies (5/10)

This is a movie with stiff animation, displaying stiff characters, uttering stiff dialogue. Suffice to say, I didn't like it much.

Anyway, in the DC Universe's equivalent of the GFC (I think), the US elects Lex Luthor as president to fix the economy (which he does). He also declares that superheroes have to work for the government, which many of them do. Not Supes, of course. Meanwhile, a giant shard of Krypton is headed for Earth...somehow. Factoring in the distance betwen Krypton and Earth, plus how big space actually is, and I'll let you dwell on the insanity of that plot point. Anyway, Supes can't deal with the asteroid since it's irradiated, so what's he gonna do?

...get tricked by Luthor into killing Metallo and being framed. Thus having a bounty of $1 billion on his head and causing every superhero in the DCU sans Batman (seemingly) to go after him, because hey, why not?

Anyway, stuff happens, people get punched, world is saved, Luthor's revealed to be a maniac, and I don't care anymore. Bleh.
 
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