The 13th Warrior. I'm not sure why this film has such a bad reputation, it's really entertaining.
Discuss and Rate the Last Film You Watched
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Grey Gardens (1975)
Documentary about an old lady and her middle aged daughter living together in a decrepit huge house. With cats, and raccoons in the attic. Toxic, depressing relationship. Daughter wasted her life by staying with her. Mother ruined some of her chances. But who knows how truthful they're both being? Movie attempts to portray them in a way that's real and dignified, but they're both so undignified. A little boring. I took two breaks in the 100 minutes. Felt by the forty minute mark that it could have been shorter, but looking back at the whole thing, I don't know. Probably worth a person's time. Wouldn't recommend it strongly, though.
Documentary about an old lady and her middle aged daughter living together in a decrepit huge house. With cats, and raccoons in the attic. Toxic, depressing relationship. Daughter wasted her life by staying with her. Mother ruined some of her chances. But who knows how truthful they're both being? Movie attempts to portray them in a way that's real and dignified, but they're both so undignified. A little boring. I took two breaks in the 100 minutes. Felt by the forty minute mark that it could have been shorter, but looking back at the whole thing, I don't know. Probably worth a person's time. Wouldn't recommend it strongly, though.
It is very unlikely that they would. Astronauts are specialists in their relevant field (initially they were jet pilots) trained up in necessary space skills, such as technical and engineering skills in case something goes wrong. They wouldn't know quantum physics unless their speciality was physics.
It is perhaps a fine distinction, but my take is more that the ship visited somewhere interpreted by the crew as Hell, because that is the closest way they could conceptualise the horrible things that place did to them.
Event Horizon is a reimagined mash-up of (or very heavily influenced by, let's say) about three older movies. One is the classic Russian film Solaris - for instance there's a scene where Weir hallunicates embracing his late wife, which is a shot copied straight out of Tarkovsky's original. Solaris is a film about an alien planet which causes humans around it to manifest their innermost thoughts. Likewise a similar concept exists in the classic Forbidden Planet: a device built by an alien civilisation to read the minds their people and create what they want, but which unfortunately created monsters because it also read their underlying impulses of hate and anger. I think this fits better than a literal notion of Biblical Hell.
Can't remember, sorry - it's been over 20 years. I'm not even sure Forbidden Planet was one of the three I really clocked as obvious inspirations at the time. I watched a huge amount of movies until my mid-20s of almost all genres, but then it dropped away and everything's gone a lot fuzzier since then.
Forbidden Planet seems a bit odd for a direct inspiration for Event Horizon, but then it was a major influence on Star Trek and occasionally also Doctor Who amongst others, so it's at least an indirect inspiration for half of every sci-fi set in space that followed.
Forbidden Planet is itself heavily inspired, with a very reputable forebear: it's loosely based on Shakespeare's The Tempest.
Nominally, but I'm not seeing the connection myself. Yeah, there's an old guy and his daughter mostly alone and a ship visits them, otherwise they aren't that similar.
The Trouble with Harry
One of Hitchcock's rare flat out comedies. A dead body turns up somewhere in the Vermont countryside (everything looks so crisp and textured for a 1955 movie) and one by one we get 4 characters stumble upon it, each thinking either they're responsible or they know who did it, but it's all told with a very British oh blimey sensibility. Comedy of errors ensues - the body is buried and unburied I don't know how many times throughout the movie as each character thinks of a new reason why the death should be covered up or exposed or maybe they forgot to turn the pockets etc.
Comedy works on a few levels. The oh blimey factor wears thin pretty soon but you get some visual humor (the dead body is almost always shown as a couple of feet sticking out from behind something, which is a funny gag that keeps getting reinvented from different angles) and some unusually frank dialogue that sounds both mean and witty and with a few swears here and there could pass for Always Sunny banter. There's a ticking clock element by the end that should've started earlier, otherwise the movie is very mild and has an all too casual rhythm for a comedy of errors. It never gets as frantic as it could've.
Basically this is an Ealing Studio black comedy (Ladykillers, Hearts and Coronets) with only a hint of the nihilism and an enforced sense of morality because Hollywood wouldn't have it any other way.
One of Hitchcock's rare flat out comedies. A dead body turns up somewhere in the Vermont countryside (everything looks so crisp and textured for a 1955 movie) and one by one we get 4 characters stumble upon it, each thinking either they're responsible or they know who did it, but it's all told with a very British oh blimey sensibility. Comedy of errors ensues - the body is buried and unburied I don't know how many times throughout the movie as each character thinks of a new reason why the death should be covered up or exposed or maybe they forgot to turn the pockets etc.
Comedy works on a few levels. The oh blimey factor wears thin pretty soon but you get some visual humor (the dead body is almost always shown as a couple of feet sticking out from behind something, which is a funny gag that keeps getting reinvented from different angles) and some unusually frank dialogue that sounds both mean and witty and with a few swears here and there could pass for Always Sunny banter. There's a ticking clock element by the end that should've started earlier, otherwise the movie is very mild and has an all too casual rhythm for a comedy of errors. It never gets as frantic as it could've.
Basically this is an Ealing Studio black comedy (Ladykillers, Hearts and Coronets) with only a hint of the nihilism and an enforced sense of morality because Hollywood wouldn't have it any other way.
The Batman (again), still an 8/10
Holds up very well on a second watch. After a second time the only major issues I can think of are parts of the Riddler and too many endings. The Riddler is really compelling for 3/4 of the movie, but at the end he just goes full "autistic screeching" mode far more times than I'm able to take seriously. If the film had kept his freakouts to just the final confrontation with Batman at Arkham, then I would have been perfectly fine. I might have liked him way more in fact. Some of his facial expressions when he's finally revealed are also a bit ridiculous, but I can chalk it up to the "everything's going according to plan" vibe he has in those scenes, and him being a massive dweeb. The movie also has about 2 or 3 too many moments where the action could start winding down, but then it picks up again for one more time.
Otherwise it's rock solid, and I actually found new things to appreciate about it. The misdirect with Riddler is actually very cleverly written in how on first watch you assume the Riddler knows more than he actually does. On the second watch it all lines up when you know the twist: he's not taunting Batman, he's fanboying over him. He's like a stream viewer who's just so stoked that his favorite parasocial buddy said his name in chat. I'm inclined to say it's my favorite Batman movie now. I haven't seen Begins in a while, but I feel I like this just slightly more. The runtime is the biggest weakness this has against Begins which also benefits from the gravitas of a lot of the cast, but Begins has the terribly shot action to counterbalance it. I just prefer this more intimate, more claustrophobic version of Batman than the grandness of Nolan's vision. I guess the grandiosity never sat quite right with me when it comes to Batman. To me Batman means tight spaces, dark alleyways, dirty, rain-swept streets and ominous noir atmosphere. And The Batman delivers on that front more than any other version I've seen.
Holds up very well on a second watch. After a second time the only major issues I can think of are parts of the Riddler and too many endings. The Riddler is really compelling for 3/4 of the movie, but at the end he just goes full "autistic screeching" mode far more times than I'm able to take seriously. If the film had kept his freakouts to just the final confrontation with Batman at Arkham, then I would have been perfectly fine. I might have liked him way more in fact. Some of his facial expressions when he's finally revealed are also a bit ridiculous, but I can chalk it up to the "everything's going according to plan" vibe he has in those scenes, and him being a massive dweeb. The movie also has about 2 or 3 too many moments where the action could start winding down, but then it picks up again for one more time.
Otherwise it's rock solid, and I actually found new things to appreciate about it. The misdirect with Riddler is actually very cleverly written in how on first watch you assume the Riddler knows more than he actually does. On the second watch it all lines up when you know the twist: he's not taunting Batman, he's fanboying over him. He's like a stream viewer who's just so stoked that his favorite parasocial buddy said his name in chat. I'm inclined to say it's my favorite Batman movie now. I haven't seen Begins in a while, but I feel I like this just slightly more. The runtime is the biggest weakness this has against Begins which also benefits from the gravitas of a lot of the cast, but Begins has the terribly shot action to counterbalance it. I just prefer this more intimate, more claustrophobic version of Batman than the grandness of Nolan's vision. I guess the grandiosity never sat quite right with me when it comes to Batman. To me Batman means tight spaces, dark alleyways, dirty, rain-swept streets and ominous noir atmosphere. And The Batman delivers on that front more than any other version I've seen.
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What Weir's describing are real-world theorietical concepts, as in, the idea of folding space to reduce travel time is a concept seriously considered. So fast forward to 2047, where space travel in the Sol system is regular (at least in the inner system), I'd expect people working in space would be familiar with the basics.
Also, if we're comparing USAC to Alien, I'd actually compare them to the Colonial Marines. The Nostromo crew are 'space truckers,' while USAC seems to be a part-military, part rescue service. In essence, space professionals. Event Horizon does indeed channel the Nostromo in part (the brief scene after they wake up), but overall, I'd say they're more similar to the USCMC.
True, but I'd still expect them to be aware of the theory of folding space-time. Again, it isn't an idea that Event Horizon plucked out, it's a well established scientific concept.
Reminiscence - NowTV
Had the impression before going into this that it was about how our memory can trick us and what we believe, yet upon watching, it's just about people being gullible to other people's lies. So there's a disappointment. Perhaps the angle of nostalgia addiction is going to be explored in curious ways once the technology is established? Nope, not really, not beyond the lightest of touches. Another mild disappointment. Still, I appreciate the neo-noir (if that's the correct term) sci-fi mood. Could've pushed harder on that atmosphere mayhaps if we're not getting the thought provocation instead. It's not bad I suppose, but feels there's a lot of lost potential, like a late 90s, early noughties thriller with a shinier sheen. Thandiwe Newton and Angela Sarafyan in the same place sometimes tricks me into thinking I'm watching a Westworld spin-off though.
Had the impression before going into this that it was about how our memory can trick us and what we believe, yet upon watching, it's just about people being gullible to other people's lies. So there's a disappointment. Perhaps the angle of nostalgia addiction is going to be explored in curious ways once the technology is established? Nope, not really, not beyond the lightest of touches. Another mild disappointment. Still, I appreciate the neo-noir (if that's the correct term) sci-fi mood. Could've pushed harder on that atmosphere mayhaps if we're not getting the thought provocation instead. It's not bad I suppose, but feels there's a lot of lost potential, like a late 90s, early noughties thriller with a shinier sheen. Thandiwe Newton and Angela Sarafyan in the same place sometimes tricks me into thinking I'm watching a Westworld spin-off though.
I watched it on Disney Plus. I'm in the UK though, so not sure if it's on Disney Plus in the US.
This is what I thought of it. Not a particularly stellar film, but serviceable and made me think about what memories I'd pay to relive, and the same one comes to mind every time...
Also just found out this guy plays apparently, the Joker. We'll see if they stick with it. There is now a deleted scene floating around...
Barry Keoghan | Actor, Producer, Soundtrack
Known for: The Killing of a Sacred Deer, Saltburn, The Banshees of Inisherin
www.imdb.com
The Batman I would still take a thousand times over Begins. Begins to take too long, and you're just waiting for Batman to show up at that point. The timing for the Batman never bothered me and it never felt too long. The pacing is surprisingly smooth and fast. I was never bored, unlike Begins.
I didn't mean the runtime in the sense that I think it's boring or overlong: a 3-hour movie is just way more of a time investment and as such the bar for rewatching it is higher. And like I said, I haven't seen Begins in a good while.