Discuss and Rate the Last Film You Watched

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PsychedelicDiamond

Wild at Heart and weird on top
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The Hunger Games: Mockingjay (2014 - 2015)

The final installment of the Hunger Games series, split into two parts, as was the style at the time. The Mockingjay duology sees Katniss, now a nationwide symbol for rebellion, joining the rather poorly foreshadowed and rather well equipped resistance group District 13, who are trying to leverage her status as a folk hero to finally overthrow the tyrannical regime of President Snow, who, in turn, user her male counterpart and love interest Peeta for propaganda on their own.

Mockingjay is the point where the series mostly ditches the eponymous Hunger Games aspect of it all to turn into something like a war drama, if one taking great effort to carry what has emerged as practically the primary theme of the series forward: The importance of appearance and aesthethics for the success of any mass movement. Which I don't particularly mind, I did find all the stuff about playing the media circus and swaying the public more interesting than the battle royale side of it all, but when a character tells Katniss that she'll be "the best dressed rebel in human history" it does start to feel like a bit of a gimmick. I do think Mockingjay is the series as its most interesting, as it does mark the point when it can't really pussyfoot around its actual political themes anymore and actually has to make some definitive statements.

Now, those statements aren't especially deep because I don't think this story is especially smart but at least it held my interest for being slightly more ambitious and slightly more weird than the earlier half of the series ever got. By being forced to take a setting that started off feeling like a rather thin excuse to have conflict, action and clearly defined, morally unambiguous sides seriously and think of some of the actual ramifications of the world she's established, author of the books Colleen Hoover was actually left with a couple of things to think about. Which resulted in her mostly, as the meme goes, thinking about the Roman Empire a good bit. So while the entire premise, and particularly the suddenly present militarized opposition, that feels annoyingly like something out of a Bethesda Fallout game, are as contrived as they've ever been, there are at least elements of moral ambiguity and a couple of weird idiosyncrasies in there that kept me engaged.

It's weird little quirks like Peeta becoming some Project Monarch Manchurian Candidate brainwashed assassin, or the fact that there is a scene when, during the storm of the capital, the main characters are suddenly attacked by weird Resident Evil ass ghouls in the sewers, or that one point when a lady shows up who looks like if the Na'vi from Avatar if they weren't blue or how the climax plays out that make this duology of movies almost interesting. I don't think it ever quite gets there, for what it's worth, but it's the closest this series ever got to approaching something like auteurism.

Because, at the end of the day, this is still going through the motions for most of it. There is nothing that would present much of a break with, much less an excuse for a lot of the ramshackle plotting and characterisations of the series as a whole. Characters pick up a bad habit of speaking in proclamations and platitudes, although I did grow attached to a couple of them over the course of the series. And let me be real here, you will see the twist villain coming. Although, I do wonder if it caught some people who've watched this as kids off guard. It's not something that's really strong enough to elevate the series as a whole by any means.

I do think Mockingjay is as compelling as this series ever got but let me be honest here, particularly strong material, it's not. There are a couple of worthwhile ideas and well executed moments in there but at the end of the day it's all pretty shlocky. I give credit where it's due, actors like Woody Harrelson, Donald Sutherland and Elizabeth Banks do make their characters come to life, I genuinely think Jennifer Lawrence's career deserved better, considering there's not exactly a great deal of iconic female action heroes out there right now and the ending felt overall satisfying. But did I really get into this series? No, no I didn't.
 

thebobmaster

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thebobmaster

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Johnny Novgorod

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Wrath of Man

Not quite the goofy, grandiose action movie I expect from Jason Statham, and I say that after having more or less recently binged Beekeeper, A Working Man and Operation Fortune. Despite the usual Guy Ritchie bravado this is actually a fairly morose revenge story with a plot that keeps moving backwards to properly fill you in on all the depressing details. Not that the movie's bad but it's kind of a bummer. Sure enough it's based off a French thriller that probably was an even bigger downer, but evidently Statham has a clause about remake glow ups (see The Mechanic) so that's fine.
 

Gordon_4

The Big Engine
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Australia
Wrath of Man

Not quite the goofy, grandiose action movie I expect from Jason Statham, and I say that after having more or less recently binged Beekeeper, A Working Man and Operation Fortune. Despite the usual Guy Ritchie bravado this is actually a fairly morose revenge story with a plot that keeps moving backwards to properly fill you in on all the depressing details. Not that the movie's bad but it's kind of a bummer. Sure enough it's based off a French thriller that probably was an even bigger downer, but evidently Statham has a clause about remake glow ups (see The Mechanic) so that's fine.
I really liked Wrath of Man, so I'll make an effort to track down the French original. Another Statham outing that's a bit bleak is Hummingbird if you want a similar but less glossy film.
 
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Johnny Novgorod

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I really liked Wrath of Man, so I'll make an effort to track down the French original. Another Statham outing that's a bit bleak is Hummingbird if you want a similar but less glossy film.
I didn't hate it but thought it had kind of a bummer energy for Statham and Ritchie.

The original is from 2004 called Convoyeur, stars the fire extinguisher dude from Irreversible and has a bleaker ending.
 

thebobmaster

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thebobmaster

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thebobmaster

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PsychedelicDiamond

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The Hunger Games: of Songbirds and Snakes (2023)

Prequel to the Hunger Games series, directed by Francis Lawrence, based on the book by Suzanne Collins.

While I don't think any of the Hunger Games movies were particularly good, I will say, I found all of them watchable and, by the end, even compelling, in a way. I can't say the same thing for Of Songbirds and Snakes.

Telling the backstory of the original series' evil dictator Corolianus Snow, SaS follows young Snow (played by Tom Blyth) in his youth as a fallen general's son in the capital of Panem. The students of his school are assigned mentorship over the participants in the Hunger Games, at this point a ten year old tradition, so he ends up with young singer Lucy Gray Baird, played by Rachel Zegler, whom he develops feelings for. The movies first half deals with Snow mentoring her for the Hunger Games the second half with him being forced to join the army and assigned to Lucy's home district.

Songirds and Snakes embodies all the worst tendencies of the original series without most of its redeeming qualities, plus a rather grating visual style that's at its worst whenever it employs this piss yellow sepia filter it uses for what probably isn't, but most definitely feels, like most of the movie. What the problem with it really is though, before anything else, is that it sees Collins indulging in all of her worst habits as a writer. The constant desperate grasping at heightened drama and forced profoundity by making everyone speak in platitudes desperate to be recognized as quotable and obsession with historical allusion to, mostly, ancient Rome and the Colonial Era, combined with plotting relying so much on conveniently poor decision making from most of the cast that it feels like watching the story of a single man with a healthy sense of self preservation in a world of people without.

If starts off as a story that feels rather contrived and stupid, which was tolerable, and then devolves into one that, in addition to that, is also quite boring when it enters the soldier arc and the story slows down to a crawl. It's something I glossed over writing about the original movies but I think it ought to be pointed out that none of the romances in these stories are any good. The relationship between Katniss and Peeta felt like it was conceptualized by the kind of person who doesn't believe in non romantic relationships between men and women, the relationship between Snow and Lucy in this movie doesn't fare much better. We are meant to take it as this great tragic love between two people from two different social classes but much like in the original series, it feels like Collins considers the experience of struggling together a substitute for actual compatibility which, in my opinion, wasn't there in the original story and is certainly not there here. Which, I suppose, you can argue might actually be the point and in this case so I'm not gonna harp on it too long but it's also the reason I couldn't get invested in what was meant to be the emotional core of the movie.
There's also the fact that I just disagree, fundamentally, on the premise that cruelty and evil are somehow the symptoms of a broken heart. I think that's a fallacy that writers fall back on because they feel it makes for a good story, not because it has much precedence in reality.

It just feels like the least interesting part of the backstory to that world you could focus on. Sometimes the war ten years prior the the events of the movie, is alluded to which marked the beginning of the Hunger Games and presumably, the founding of Panem and I would have much rather heard the story of that. Likewise, I would have been more interested in the story beginning presumably right after the end of this movie, about Snow rising to power. This, however, felt like an uninteresting bit of apocrypha that adds little to the overall story while desperately calling forward to it any opportunity it gets. This really goes out of its way to milk that Hanging Tree song from Mockingjay to death.

I just don't think it's any good. The cast is nice, I guess. You got a share of recognizable character actors, there's Jason Schwartzmann and Peter Dinklage and Hunter Schafer and Viola Davis, all having some fun with their roles. The leads are fine. I don't think Blyth lives up to Donald Sutherland's performance in the originals but it's not like he has especially great material to work with and I enjoy Rachel Zegler. She's a great singer and a likeable presence and god knows she deserved better than the humiliation of having to star in a live action Disney remake.

But frankly, the movies was a miserable slog. It's a story that I found as uninteresting as I found it poorly paced. That Shakesperean grandeur of doomed love in a cruel world that Collins is obviously reaching for is just not something it ever gains a hold of. This was the first time watching this series that I wasn't just left unimpressed, I was left actively underwhelmed.
 
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thebobmaster

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thebobmaster

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PsychedelicDiamond

Wild at Heart and weird on top
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The Shrouds (2025)

David Cronenbergs most recent release. Vincent Cassel plays Karsh Relikh, recently widowed owner of a company that produces technology that lets the families of the recently deceased watch their bodies through a live feed from the technologically enhanced shrouds they're buried with. When his graveyard gets vandalized and his technology gets hacked, he sets out to find the people responsible, all while he's being haunted by macabre sexual dreams of his dead wife.

So, basically it's an erotic tech conspiracy thriller, but goth. You know, David Cronenberg's a weird fellow. Shrouds is clearly to some extent an attempt of Cronenbergs, himself recently widowed, to come to terms with loss and grief. It's also clearly another weird, fetishistic rumination on how technology colonizes our bodies and minds and alters our perception. In the 80's, he made Videodrome and warned us about television. In the 90's he made EXistenZ and warned us about video games. Now he made the Shroud, clearly to some extent to warn us about AI and social media, depicting a near future where not even death lets you escape from being online and where you're made to wonder whether your AI assistant really is just an autonomous tool or whether it's controlled by someone behind the scenes... and which would be worse.

Mind, The Shrouds is a much slower burn than something like Videodrome, you don't get any of the exploding heads or weird orifices where orifices aren't supposed to be or guns made from chicken bones or any of that fun stuff. Outside of Karsh's awkward nekrophiliac dream sequences, Shrouds is mostly a movie of people talking, having sex or interfacing withtechnology. The characters are all deeply damaged people, between Karsh's own strange obsession with the dead, his sister in laws sexual fetish for conspiracy theories and his brothers crippling paranoia that may or may not be justified. Under these circumstances it should be unsurprising that the actual conspiracy plot is mostly left up in the air, whether there really is a nefarious plot by the Chinese government to turn dead bodies into a global surveillance network giving way to the question of "At this point, what difference does it make"?

Karsh is shown driving a self driving Tesla, using a computer and a phone by Apple and trusting a compromised AI with his secrets. It's clear that he already has given control over much of his life to technology produced by people who have weaponized it against us. In a sense, The Shroud feels like a movie about trying to find some personal salvation in a world that's become incomprehensible and uncontrollable, which he attempts to do in an affair with a dying business partners wife whose intentions are themselves more than ambiguous. The Shrouds is a movie about a world in which two of the most quintessentially human things in the world, sex and death, have become just another node in the greater takeover of the inanimate forces of technology that are overtaking any intentions of the humans who created it.

If Videodrome was about the things you see being used to control you, Naked Lunch was about the things you create being used to control you and EXistenZ about the things you do being used to control you, then Shrouds is a movie about how the things you feel are being used to control you. Your grief. Your lust. Your desire for answers. And your desire for human connections. It's definitely one of the most paranoid movies in the oeuvre of a profoundly paranoid film maker, perhaps even more so because it never even confirms to which extent that paranoia is justified. What it does make clear is that Cronenberg might have become quieter but no less anxious and, certainly, no less horny.

I liked Shrouds but I figure a lot of people won't, it's a very particular combination of slow and uncomfortable that I don't think is going to win that many over. But I felt it had a lot of interesting things on its mind, it's one of the first movies that I felt really captured some of the modern anxieties around the current state of technology. Only the death will know peace from this evil? If only they should be so lucky.
 
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thebobmaster

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thebobmaster

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gorfias

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Thunderbolts on Disney +

We hear a lot about super hero fatigue but I'll add to the issue that in today's online world, someone like me knew every story beat for this movie before seeing it. I found it to be spectacularly mid. I neither hated nor loved it. There was not one action scene I did not know was coming and found them un-moving.

This would happen before the modern day. Example was "Hand that Rocks the Cradle". They showed the villain get it in the trailer! Movie made a mint back then. Today just seems more spoily than even then.

If you miss it, you didn't miss much. If you have time to kill? Worse ways to spend it. 2.5/5.

 

thebobmaster

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thebobmaster

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thebobmaster

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