Discuss and Rate the Last Film You Watched

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Johnny Novgorod

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As much as it must be nice for the people who worked on this film to receive scolded after a few decades of reconsideration, it doesn’t change the fact that it was a financial disaster of (to my knowledge) unequalled magnitude. Like whatever craft was on display clearly didn’t matter to its audience.
Yes, the movie bombed horribly. It's still better than most of the stuff that makes it to the Oscars these days.

I think people just want to see troubled productions fail. Whenever the ball gets rolling about how a movie's gone over budget, and the director's a diva, and the reshoots and the recuts and blah blah. Happened to Apocalypse Now.

Heaven's Gate, flawed stuff aside (and there's a LOT) was way ahead of its time in 1980. This side of Unforgiven is when you release a revisionistic Western with drab colors that's way too long and ends on a depressing note about the government sucking. People may have tolerated the overarching pessimism in 1970s New Wave from dramas and thrillers and horror movies but I suspect the Western was a kind of last untouched bastion of crowd-pleasing, even as it was losing popularity.

Today this would be way longer and do way better (see: Killers of the Flower Moon) or would probably exist as an HBO miniseries.

So I'm not surprised that it did so horribly at the box office, I'm surprised of how good it is relative to its infamy of ending an era.
 
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thebobmaster

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As much as it must be nice for the people who worked on this film to receive scolded after a few decades of reconsideration, it doesn’t change the fact that it was a financial disaster of (to my knowledge) unequalled magnitude. Like whatever craft was on display clearly didn’t matter to its audience.
There have been worse bombs both before and since. What makes Heaven's Gate stand out isn't so much the magnitude of the financial disaster, but how much it bombing was tied into how much the film went over-budget due to Cimino's film-making and contract protecting him from consequences of said budget-blowing.
 

Gordon_4

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There have been worse bombs both before and since. What makes Heaven's Gate stand out isn't so much the magnitude of the financial disaster, but how much it bombing was tied into how much the film went over-budget due to Cimino's film-making and contract protecting him from consequences of said budget-blowing.
Looking back I probably phrased that badly. Bigger bombs have, as you said, been made. What I meant by magnitude was sheer industrial impact. A big movie falling over and dying because of directorial hubris isn't unique, but when that hubris tanks an entire studio (how many jobs lost was that?) and reverses the balance of power in the movie making industry, its a very different kettle of fish.
 
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Dirty Hipsters

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Hardcore Henry (Amazon Prime)

A man with no memory and no voice wakes up on a surgical table as robotic limbs are attached to him. Before calibration of his new body is complete the facility is attacked by armed gunmen. What proceeds is essentially a non-stop chase and gunfight through an unnamed Russian city with car chases, parkour, martial arts, and shootouts.

It's a low budget action movie filmed in Russia, with basically no actors in it, just a bunch of stunt men running around doing parkour, stunt fighting, and shooting each other with some extreme and cartoonish gore. It would actually be pretty forgettable if not for one gimmick, the entire movie is filmed in first person (and yes at times it feels exactly like you're watching someone play a combination of Call of Duty and MIrror's Edge).

I actually had a remarkably fun time with this movie. The plot is basically non-sense, and I don't want the first person gimmick to catch on because after watching it I did have a slight headache (I can definitely imagine this movie making people motion sick), but the movie is unique and the character of "Jimmy" is pretty fun. There's also a pretty cool moment in the movie where one of the main character's eyes pops out, and because it's in first person you get 2 perspectives of the situation which was neat.

Overall worth a watch, though I do wish that it had been released a few years later when Go-Pros had some better image stabilization software.
 

thebobmaster

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Johnny Novgorod

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Year of the Dragon

Cimino's entry into 1980s excess, the movie takes on gangster violence in Chinatown, in the edgy, coked-out vein of To Live and Die in L.A.

The plot is thinner than the movie's profit margin: Mickey Rourke, stylishly yet inexplicably dressed in Dick Tracy garb, wages a personal war against the triads that are shooting up restaurants and running heroin from Thailand (led by a very good John Lone, later of M. Butterfly).

The movie has an insane way of dialing up its violence out of nowhere, even as Mickey never goes through a scene without yelling at someone or hitting something. This guy is more on the edge than all of Abel Ferrara's and Michael Mann's heroes combined. And he's married to a woman who's got an absolutely thankless job as his wife, even before he starts cheating on her with a reporter (played by runway model Ariadne). The ball and chain is nearing 40, she got that Ellen DeGeneres beak, dresses exclusively in drab bathrobes and just wants to have kids ("You missed my ovulation last Wednesday"). She does nothing but get stood up and cheated on the whole movie, until she gets garrotted to death during a break in and that's supposed to be Mickey's second act low point even as he totally keeps tapping Ariadne.

There's a lot of humor to the movie, sometimes intentional, sometimes not. Many of the characters are flat out grotesque and bizarre and seem to have time-travelled from Wild at Heart. Mention to the two nuns who run the wiretap on the local triad hangout (???) and like to lecture Mickey on nutrition and the importance of white blood cell counts.
 
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BrawlMan

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Hardcore Henry (Amazon Prime)

A man with no memory and no voice wakes up on a surgical table as robotic limbs are attached to him. Before calibration of his new body is complete the facility is attacked by armed gunmen. What proceeds is essentially a non-stop chase and gunfight through an unnamed Russian city with car chases, parkour, martial arts, and shootouts.

It's a low budget action movie filmed in Russia, with basically no actors in it, just a bunch of stunt men running around doing parkour, stunt fighting, and shooting each other with some extreme and cartoonish gore. It would actually be pretty forgettable if not for one gimmick, the entire movie is filmed in first person (and yes at times it feels exactly like you're watching someone play a combination of Call of Duty and MIrror's Edge).

I actually had a remarkably fun time with this movie. The plot is basically non-sense, and I don't want the first person gimmick to catch on because after watching it I did have a slight headache (I can definitely imagine this movie making people motion sick), but the movie is unique and the character of "Jimmy" is pretty fun. There's also a pretty cool moment in the movie where one of the main character's eyes pops out, and because it's in first person you get 2 perspectives of the situation which was neat.

Overall worth a watch, though I do wish that it had been released a few years later when Go-Pros had some better image stabilization software.
I never got motion sickness from seeing this movie once. Everyone is different though. I'm glad nobody else copied this movie, because it makes it all the more unique. It's also the best Universal Soldier Remake we will ever get. It works well as a live action adaption of FEAR as well.
 
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Bartholen

At age 6 I was born without a face
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I saw the Devil, 9/10

This is a korean revenge thriller from 2010. It starts off as the most bog-standard premise ever: ordinary guy's wife gets brutally murdered, and he goes searching for revenge. But then the movie turns the genre upside down by essentially speedrunning the usual plot, and reaching the conclusion of that plot less than 30 minutes in. What then follows is the most interesting and original take on the whole revenge movie formula I've ever seen, and it's absolutely absorbing. Having watched the original Death Wish recently, this was an interesting contrast to it.

The protagonist decides that he's going to let the murderer go, and prolong his revenge by catching him again and again and torturing him each time. It's one of the most ingenious ideas for a twisted revenge tale I've ever seen. The protagonist wants the villain to suffer perpetually, but slowly comes to realize that there might not be anything beneath the surface of the killer. He's just a madman, and whether the protagonist tortures him once or a thousand times makes no difference to him; he's going to just go back to killing and raping people like nothing's happened.

It's a masterpiece. The 2 hours 15 minutes just flew by. The unorthodox structure meant that I had zero clue where the story was going, and I was glued to the screen. The story being presented from the POVs of both the killer and the protagonist in equal measure gives it a gripping pace, and can show both sides of this twisted coin. It's not for the faint of heart: it's brutally, uncomfortably graphic with multiple scenes of on-screen sexual assault, but always in service of the story and characters. It takes typical crime thriller tropes and either subverts them or does something interesting with them: the killer's not some complex mastermind, he's a dumb, short-sighted incel with zero impulse control or empathy. Unlike in most movies of this type, the protagonist is firmly in control of the situation for most of the movie. The usual "he who fights monsters" element is taken to interesting places when the protagonist doesn't even flinch when he effortlessly brutalizes, maims and mutilates bad guys, and is taken aback not by what he does, but the fact that what he does seems to have zero effect on these people. They don't care, they don't even seem to register that they've been brutalized to within an inch of their life. It's one of the most psychologically fascinating films of this type I've seen, and only makes Death Wish's infantile revenge fantasies seem even dumber.

If there are criticisms, the film takes a fair few leaps of logic that seriously pushed the limits of suspension of disbelief for me. The killer escapes seemingly impossible odds and situations a few times too many, which can seriously take you out of the movie. The intelligence, competence and situational awareness of the characters seems to change according to what is needed of the story, which can make the otherwise very compelling drama feel cheesy. Aside from those I can't really think of anything. This is some seriously great cinema.
 

thebobmaster

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thebobmaster

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PsychedelicDiamond

Wild at Heart and weird on top
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Batman (1989)

Not the first feature length theatrical Batman movie, technically that would be the one based on the 60's television show, but probably the one that laid the groundwork for Batman being a persisting presence in cinema. Directed by Tim Burton, who was still just getting started, right after Beetlejuice. Michael Keaton of course having played the titular character in both Beetlejuice and Batman.

This laid so much of the groundwork for not only every Batman movie but almost every superhero movie that came after it, while still being quite different from almost any of them. Burton's Batman is widely seen as the movie that finally took Batman seriously but I think there is still more of the 60's series in it that many care to admit. Batman '89's tone is one of pretty broad pastiche of, mostly, prohibition era to post World War 2 pulp crime drama with some pop goth Burtonisms thrown in for good measure. Which is one of those things that I actually wonder about, because all of that is now a relatively consistent part of most Batman media, whether it's the animated series (which, as far as I'm aware, was more or less produced as a tie in to this movie), to the Arkham games to even some of the newer movies like Joker and the Matt Reeve's one. Which kind of make me wonder how much of that aesthetic was codified by Tim Burton, I'm too unfamiliar with the comics to say.

All that aside, Batman is a very straight forward movie which definitely streamlines a lot of the pre existing Batman lore. It's very unconcerned with how Bruce Wayne became Batman. At the start of the movie he seems to have been Batman for a while, the death of his parents is very briefly brought up somewhere in the middle and rather economically tied to the Joker, whose origin is in turn tied to Batman. This Batman doesn't think twice about killing his villains henchmen, much less the villains themselves. What I'm saying is, this is a movie very unconcerned with explaining itself. It doesn't feel like it needs to set up why Batman does what he does or why the city and the fashion look the way they do. It presents a setting, a hero, a villain, a love interest and then just kinda has fun with them.

And it is fun, quite fun. Jack Nicholson plays the Joker and he's still one of the best actors to do it. I think every actor, except Leto, who ever played the Joker brought something compelling to the character and in Nicholson's case it's an infectious narcissism. He's a guy who, to the moment of his death, is always playing to an audience. Winking, smirking, doing little bits like a comedian on a stage. He is flamboyant in a way not unlike the villains in the 60's show, but he also sells that he is a genuinely ruthless guy who can, and does, kill on a whim.

And I think that serves as a pretty good metaphor for the movie as a whole. It's not that much less flamboyant and camp than the Adam West series, it's just a whole lot more violent. It has higher stakes and a darker artstyle but it's still full of visual gags and goofy one liners. Hell, even Batman himself gets a couple. Not to mention some of the Jokers more over the top capers that are diegetically scored with Prince songs. More than a serious crime drama ala Reeves, a gritty realistic thriller ala Nolan or a modern day myth ala Snyder, it's still mostly a game of cops and robbers with exaggerated characters.

Burton brings it all to life quite nicely. There's just enough to his Gotham City to make it a rather lively setting. We get to see its police, its organized crime, its press, Billy Dee Williams plays Harvey Dent, a casting choice they sadly never got to pay off... it has nice world building, more than you'd reasonably expect from something so straight forward.

All things considered, this holds up really well. It's simple and to the point but still full of memorable scenes, visuals and characters. There are plenty of Burton's visual quirks in it but they are never used as a crutch for a lifeless script the way they were in his later Disney movies. It neither tries to intellectualize nor ridicule its source material, it just uses it for a straight forward action movie with memorable characters played by talented character actors in a unique setting that's decently fleshed out. I'm not sure it's still the best Batman movie and I'm not even sure it's Burton's best Batman movie (I think I remember preferring Returns but I haven't seen it in a long time) but this is still a genuinely fun watch.
 

BrawlMan

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I'm not sure it's still the best Batman movie and I'm not even sure it's Burton's best Batman movie (I think I remember preferring Returns but I haven't seen it in a long time) but this is still a genuinely fun watch.
Batman '89 is still in my top 5 of Batman movies. I do prefer B89 over Returns. Returns feels way too bloated and drags.
 
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thebobmaster

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Gordon_4

The Big Engine
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The Wild Robot - 9/10

Allegedly this is Dreamworks last in house hurrah before their animation is largely outsourced. Well, it is at least a rock solid farewell.

The only issue I have with the story as presented - I’ve never read, hell heard of, the books - is that it is a little disjointed and seems to jump around in tone.

The story is about Roz (Lupita Nyong’o), a domestic assistance and industrial labour robot who wakes up on an island with no humans and does her best to find a task. After spending time pissing off the animals and getting no task, she sits down and spends what looks like a month or three figuring out their languages so she speak to them. Unfortunately, during a rather intense sequence to quickly demonstrate the food chain - watch for the flying head of a crow - Roz, fleeing from a grizzly bear, accidentally crushes the nest of a goose, killing the nesting mother and all but one egg.

After an amusing sequence with the egg being stolen for food by a fox named Fink (Pedro Pascal, who has amazing comedic timing), the egg hatches and the runt gosling, Brightbeak, imprints on Roz. Lacking knowledge or options, Roz finds Fink and cajoles him into helping. Hilarity, tragedy, and heartwarming ensues.

The movie takes zero time to set anything up and just blasts right into its plot. There’s a couple of minor things that make me confused like why Roz doesn’t seem to be able to recognise that she’s surrounded by animals. Or when trying to teach Brightbeak how to swim she uses human technique. Or when later when Auto from Wall-E’s yandere girlfriend from corporate shows up they treat the - legitimately amazing - data Roz has garnered as being unable to be extracted without killing her. Maybe someone who actually works with machine learning can correct me, but I must ask that like in Rise of Skywalker, has the copy and paste function become lost technology?

But these are minor quibbles and I recommend anyone to see this if only for some of the amazing visual storytelling.
 
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Johnny Novgorod

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Immaculate

Sydney Sweeney is a nun in an Italian convent who becomes mysteriously pregnant (see title). Rosemary's Baby meets Suspiria, never quite as horrifying as the former or as wild as the latter. The movie makes the most of the location and Sweeney's bodaciousness, and there're some effective jumpscares every few cheap ones, but ultimately falls flat due to how routine and impersonal everything plays out.

Miller's Girl

See, when the movie is a MILF/Gen Z combo you get corny sexy romcoms like The Idea of You, A Family Affair and Good Luck to You, Leo Grande. But when December is a Man then you're in for a thriller - not that Miller's Girl thrills on any level. It stars Jenna Ortega as age-appropriate jailbait (she's 18) and Martin Freeman as her literary studies teacher, who as a failed writer likes that she's read his book. The movie is shot in a dreamy, unreliable style that had me pausing to check Wikipedia what I was supposed to be getting as 'fact' from certain parts, but the gist of it is that the two are attracted to each other and the relationship crosses the student-teacher line; when Jenna wants to publish an essay clearly inspired by their thing, Freeman puts his foot down and things sour.

First off, the writing in this is as overwrought and embarrassing as fanfiction. Jenna Ortega's character narrates the whole thing and her Wednesday shtick does not fly with me. She calls herself "unremarkable" while also telling us that she's a trust fund kid with a sprawling Gothic mansion all to herself (her parents are globetrotting and forever absent) who can read Finnegan's Wake for the lolz (uh huh) and oh her name's "Cairo Sweet" (original character do not steal). She walks into every shot in slowmo, emerging from misty forests and palacial gates.

The characters' writing is equally embarrassing. Freeman and Ortega read their writing to each other in what's supposed to be a series of sexy meeting-of-the-minds (they literally masturbate to it) but man the screenplay gives them complete purple prose tosh. I've written and published joke fanfiction that I promise exists in the same ballpark as this crap. I guess this is the bane of any movie that hypes up the worth of any in-universe piece of art - I mean, it's only going to be as good as the person writing the screenplay can make it - but I propose they shouldn't have even tried here.
 
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Agema

Do everything and feel nothing
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It's just that... ok, do we think Leo DiCaprio needs an island and a memory wiper to get laid? Does movie Channing Tatum not have enough pull by looking like Channing Tatum, and having Channing Tatum money? Does he need the cloak and dagger to bang women who're already clearly into him? Or am I missing the point, which is that the rape is the point?
For at least some people, yes that will be the point.

In a not entirely unrelated situation in France, a man is on trial for drugging his wife to unconsciousness and selling her to men for sex. If I remember rightly, ~80 men are thought to have raped her out of a town of only 6000 people. In a sense, that's a small minority and yet in another, it's a lot of men.

However, one can also view it from the perspective of men who see no apparent value in women except sex. They don't want a relationship, or to cater to women's emotions, and often also have a sort of possessiveness, ego or control that they don't want the women to get fed up, bored, and leave. Thus there is perhaps a fantasy to be had for some men of having a woman "on tap" who's always into them and ready to service their needs, that they never have to give anything back to.
 

Bartholen

At age 6 I was born without a face
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The Seventh Seal, 8/10

This is the quintessential Ingmar Bergman classic starring Max von Sydow. It starts with a crusader starting a game of chess with Death during the Black Plague, but the film sprawls out from there with a host of different characters. There's not really much of a plot, it's more of a collection of scenes showcasing the characters in different situations and waxing poetic about a shitton of themes: life, death joy, cynicism, faith, fear, love... if you were to ask me what this movie's about, "everything" wouldn't even be that much of an exaggeration. It's one of the densest movies I've ever watched, and watching half of it in a mild hangover was a mistake. It's only like 90 minutes long, but holy shit there's so much dialogue, and not fluffy dialogue either. Characters speak in a theatrical, Shakespearean tone and almost every scene is basically a philosophical screed.

This is basically the exact thing you think old black and white movies are as a kid: slow, weird, unexciting, and consisting of people just talking. It's the very embodiment of a movie your parents watch with a glass of whine while stroking their chins and going "hmm, yes, quite interesting". But it never stops being engaging. It looks great, the acting's great, the characters are fully fleshed out, all the dialogue's interesting, there's lots of understated humor. It's absolutely timeless in its tone and presentation, and is deservedly an all-time classic. I don't know if I see myself watching it again anytime soon, because it's such a heavy experience.
 

thebobmaster

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Johnny Novgorod

Bebop Man
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Monkey Man

A pretty good revenge movie that could've used more action and would've benefitted from putting the hero's low point about three quarters of the way instead of halfway through. As is, the movie basically resets one hour in, and it does so in a way that feels rather unearned.

Wish the movie would cool it with the flashbacks whenever it wants to build up the emotional stakes. Peppering your revenge movie with dreamy snippets of your dead mom/wife/daughter doesn't cut it for me. I'm already on the hero's side! I like Dev Patel and he pets a dog. Go kick ass my dude!

It's a great ending. It's a straight play on my favorite trope to not happen as often as I wish it did, which is the Game of Death boss rush tower climax.

Props to Jordan Peele for saving the movie from getting dumped on Netflix, especially after the hellish production it went through.
 
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