Somewhere it's said that the hoarders were all previous mortals who had been tempted by material possessions like that one was trying to do to Sarah.
Discuss and Rate the Last Film You Watched
- Thread starter Th3Ch33s3Cak3
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Brain Dennehy is also so fucking good as Teasle. The guy has that James Gandolfini magic, where he can have the most charming demeanor, but then shift on a dime to become this truly reprehensible bastard. Especially that line he gives 'When one of my deputies steps out of line then the prisoner comes to me. And when I find out it's like he says I kick the deputy's ass - Me, the Law! That's the way it's gotta be.'
Speaking of, is it me or were the 80's a lot more critical of the police than movies now? Off the top of my head I can think of First Blood, Highlander, Terminator 1 and 2.
Interstellar is the only movie I didn't particularly like that I paid to see twice in theaters, both times by myself. Why? The first time because it looked like a good film; the second was simply for the fucking score. I see a lot of people critique Hans Zimmer's "walls of sound," but I love his work, and Interstellar floored me. I saw the movie twice in two weeks and couldn't tell you anything about it except how much I loved the music.
Did Old become a unique cult hit? It's been my understanding that pretty much anything M. Night makes immediately falls into a niche category of its own. The Sixth Sense pretty much surprised everyone, then every thing since has been "an M. Night Shyamalan joint;" you know to expect the unexpected, and you either love it or you hate it.
I saw Teenaged Mutant Ninja Turtles: Mutant Mayhem, and it was fine.
It has the typical 'we're outsiders and no one accepts us, but I guess they actually do in the end', with nothing new to say or a fresh angle to it. Very little really stands out other than the art style and that the Teenaged Mutant Ninja Turtles are actually teenagers now. Which results in a lot of teenagers constantly bantering on and on, talking over eachother, on the one hand feeling authentic enough to how real teenaged boys are, but on the other getting rather grating as the movie goes on.
I will give the movie props for looking "ugly". Whether you find the art style visually appealing or not, nearly everything and everyone is designed to look kinda gross and repulsive. April O' Neil is probably the only character with a symetrical face, with every other human looking like clay that's been left in the sun. And in current times where every major western animated movie must adhire to the Disney/Pixar likeability style, making a cartoon that's this "offputting" is a risk. And I applaud them for taking it.
It has the typical 'we're outsiders and no one accepts us, but I guess they actually do in the end', with nothing new to say or a fresh angle to it. Very little really stands out other than the art style and that the Teenaged Mutant Ninja Turtles are actually teenagers now. Which results in a lot of teenagers constantly bantering on and on, talking over eachother, on the one hand feeling authentic enough to how real teenaged boys are, but on the other getting rather grating as the movie goes on.
I will give the movie props for looking "ugly". Whether you find the art style visually appealing or not, nearly everything and everyone is designed to look kinda gross and repulsive. April O' Neil is probably the only character with a symetrical face, with every other human looking like clay that's been left in the sun. And in current times where every major western animated movie must adhire to the Disney/Pixar likeability style, making a cartoon that's this "offputting" is a risk. And I applaud them for taking it.
The '90s had plenty. Terminator 2 counts as the 90s by the way. Boyz n da' Hood, Higher Learning, New Jersey Drive, and Light It Up.
You can thank Spider-verse for that again. The movie still does its own unique style, but it's pretty obvious another film is taking influence from the Spider People.
I should've prefaced by saying 'action movies' - movies that typically have cops as the good guys or the hero support.
Above the Law (that one is more so FBI and CIA, but it still counts as it's a remake of a Chuck Norris movie), Hard to Kill, The Last Boy Scout, The Matrix (understandable, because the majority of the cops aren't even aware of it), New York Undercover (that's an action TV show, but I'm counting it anyway), and that one movie where Van Damme was investigating a prison that was having inmates forced to fight each other. The one from the '90s, and not the one from the 2000s.
That's without question, but unlike Spider-Verse TMNT:MM made itself ugly on purpose (as the reactionaries are fond of claiming). Pouring millions of dollars into a project that looks like a Robert Crumb comic is a different risk altogether. I don't think I would ever regard it as a trail blazer, but seeing as studio animation is allergic to not being cute/beautiful/sexy/cool, having a movie go in almost complete opposition of that kinda warms my heart.
Die Hard 1 and 2 features one heroic police officer out of his jurisdiction and out of his depth, and lots of other police making things worse.
(Ok, the first had...Powell? Who is helpful.)
The Matrix definitely, The Last Boy Scout, hmmm... I feel Hallenbeck has too much of a cool grizzled cop vibe to him. I guess I mentioned those movies because the cops in it are no help to the heroes at all if not a straight-up threat, and we hardly see that in movies of this ilk anymore.
I don't deny that, nor have a problem with it, I was just pointing it out. You still had some people complain that it wasn't "their Turtles nor April", but those reactionaries don't count for anything. They still screamed and hollered like bitches when the movie made a success. Mutant Mayhem is a good movie, but I only found it better than Secret of the Ooze, III, TMNT 2007, and TMNT 2014. The writers also could have turned it down on the pop culture references. I usually don't mind them, but they got really stale in this one. This is nothing new for Ninja turtles, but even most other shows and movies know to use it sparingly or not too much.
He said 80s not 1990s. I know Die Hard 2 came out 1990, so it's in that weird transition but I'm taking dates into accordance. If you noticed, all those action movies I listed take place in the 90s or was made in the 90s. Above the laws is the exception, but that was a remake of another movie that involved corrupt cops instead of the FBI and CIA. As for McClane, he had no choice in the first movie, and in the second movie, it's more or less a similar scenario. The cops are incompetent (not as much as the ones in LA), but a majority of the antagonists are renegade soldiers looking for the next big pay and freeing a dictator. In Die Hard with a Vengeance, racial injustice is discussed (mainly from Zeus), but the NYC in this case is shown to be confident and actually helpful.
Not Hallenback exactly, but a few is so called buddies don't have the greatest morals. They're not in league with the main villain(s), but they definitely don't do much to help. Also, another example with corrupt cops is Drive (1997). They are in a evil corporation's pockets.
Speak for yourself on that one. While they're not built on the assembly line like that then, there's still plenty of other action shows or suspense thriller shows that tackle/criticize police or any type of authority corruption.
Viridiana (1961)
Playing Blasphemous 2 gave me a hankering to rewatch this. It's very much a Gothic story but by no means a horror movie. There's something grotesque and cheerfully miserable about the Spanish ethos that comes up in stuff like this. Goya, Buñuel. People being disturbed by themselves and trying to weather the feeling.
So Viridiana is a young, beautiful woman who's about to lock herself up in a convent for life when she gets an invite from her wealthy uncle (and sponsor) to come stay with him for a few days. The Gothic element comes from her being a sleepwalker as well as a dead ringer for her dead aunt, who passed away suddenly during her wedding night. The uncle makes her wear the wedding dress, drugs her and attempts to rape her with the help of a housemaid. By the following act, Viridiana has inherited the house and, having misplaced her guilt and deciding she's broken goods, foregoes life in a convent and decides to turn her uncle's mansion into a shelter for beggars and lowlifes. This coincides with the arrival of her cousin, who'd rather modernize the mansion for profit.
This is one of the most pessimistic movies I've ever seen. It's filled with nasty mordant symbolism pointing to the futility of good, the pointlessness of faith and the corruption of innocence, not so much as by evil design as is just the nature of things. The heroine is humiliated every step of the way, is defeated through no fault of her own and ultimately succumbs to the epicurean nihilism that's been flirting with her on the side the whole time. We don't get a Barbie-style moment where the heroine snaps and delivers The Movie's Message in an impassioned rant. Viridiana's big defining moment is entirely silent and works on every fucked up level you could possibly imagine.
At this point I'm supposed to go that you couldn't make this movie today, but truth is they nearly couldn't back then either, and the movie was only screened like 17 years after being made in Spain, once Franco was dead. Today it would be merely dismissed with a hashtag.
Playing Blasphemous 2 gave me a hankering to rewatch this. It's very much a Gothic story but by no means a horror movie. There's something grotesque and cheerfully miserable about the Spanish ethos that comes up in stuff like this. Goya, Buñuel. People being disturbed by themselves and trying to weather the feeling.
So Viridiana is a young, beautiful woman who's about to lock herself up in a convent for life when she gets an invite from her wealthy uncle (and sponsor) to come stay with him for a few days. The Gothic element comes from her being a sleepwalker as well as a dead ringer for her dead aunt, who passed away suddenly during her wedding night. The uncle makes her wear the wedding dress, drugs her and attempts to rape her with the help of a housemaid. By the following act, Viridiana has inherited the house and, having misplaced her guilt and deciding she's broken goods, foregoes life in a convent and decides to turn her uncle's mansion into a shelter for beggars and lowlifes. This coincides with the arrival of her cousin, who'd rather modernize the mansion for profit.
This is one of the most pessimistic movies I've ever seen. It's filled with nasty mordant symbolism pointing to the futility of good, the pointlessness of faith and the corruption of innocence, not so much as by evil design as is just the nature of things. The heroine is humiliated every step of the way, is defeated through no fault of her own and ultimately succumbs to the epicurean nihilism that's been flirting with her on the side the whole time. We don't get a Barbie-style moment where the heroine snaps and delivers The Movie's Message in an impassioned rant. Viridiana's big defining moment is entirely silent and works on every fucked up level you could possibly imagine.
At this point I'm supposed to go that you couldn't make this movie today, but truth is they nearly couldn't back then either, and the movie was only screened like 17 years after being made in Spain, once Franco was dead. Today it would be merely dismissed with a hashtag.
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The Marvels
Another ridiculous and forgettable space adventure in the vein of Love and Thunder that features a lot of the same beats as a Guardians of the Galaxy movie but without nailing the emotional part or balancing the dumb with the earnest. Can The Marvels learn to put aside their differences and work as a team? Is it Wednesday already? Throw in one of the lamest villains in recent (un)memory and make sure every character conflict in this movie could be solved -and will be solved, forever - with a simple conversation.
Oh, and that gimmick where characters swap places every time they use their powers (well, not EVERY time, just when the movie feels like it) ends up not going anywhere. As if the action in these movies wasn't already undermined by the fact that characters can do pretty much anything, now they can also be anywhere at anytime.
Another ridiculous and forgettable space adventure in the vein of Love and Thunder that features a lot of the same beats as a Guardians of the Galaxy movie but without nailing the emotional part or balancing the dumb with the earnest. Can The Marvels learn to put aside their differences and work as a team? Is it Wednesday already? Throw in one of the lamest villains in recent (un)memory and make sure every character conflict in this movie could be solved -and will be solved, forever - with a simple conversation.
Oh, and that gimmick where characters swap places every time they use their powers (well, not EVERY time, just when the movie feels like it) ends up not going anywhere. As if the action in these movies wasn't already undermined by the fact that characters can do pretty much anything, now they can also be anywhere at anytime.
A ★ review of Die Another Day (2002)
This review may contain spoilers. Visit the page to bypass this warning and read the review.
letterboxd.com
I couldn't include this in the review, but...just look at the get-up for the villain in the climax. They actually thought this looked good.
Yeah, I thought The World is Not Enough was a bad Bond movie, but this one just goes to show how much time and effort and skill went into even the Roger Moore fims.A ★ review of Die Another Day (2002)
This review may contain spoilers. Visit the page to bypass this warning and read the review.
I couldn't include this in the review, but...just look at the get-up for the villain in the climax. They actually thought this looked good.
View attachment 10047
As downright goofy as some of the Roger Moore movies could get, there was at least heart to them. Hell, the reason I gave this a lower rating than Moonraker is that while this is possibly technically better as a film, at least Moonraker was trying something different for Bond. It was something dumb, putting Bond in space because Star Wars, but there was something there. This has no such heart. It really is just a Frankenstein of previous Bond movies stitched together.
The only people I know that love Die Another Day, unironically are my parents and older brother. That's it.
I remember liking it in the theater. Haven't seen it since 2002.
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