The Last Movie You Watched...and Your Thoughts!


It’s so good to finally see more Edgar Wright. This film is definitely more action than comedy, I wouldn’t call it an action comedy, but that certainly doesn’t take the comedy out of it because Wright is just masterful when it comes to making action interesting.
Go watch it when you can, I doubt you’ll regret it.



Y’all! What did everyone think about WONDER WOMAN? (I’m showing my bias so spoilers: I cried.)


Havent seen it yet. :frowning:


Since the only big high quality theater room where I could see movies with original and not dubbed sound closed for renovation I haven’t seen anything unfortunately, but I’m seriously considering looking for some small, low quality room to see it Wonder Woman and Guardians 2 in English. The state of foreign languages here is maybe the worst in the EU.


Solid…it’s harder to give a deeper review than that because it’s my description of every element of this movie. Nothing blew me away, but the fact that every single component part does its job and compliments the others makes it easily the best of the current DCU. There’s a drag from the 75% mark to the 85% mark that could be completely cut (we didn’t need the elegant dance party at all), but - otherwise - it’s just exactly the fun, ridiculous romp you signed up for. Faces punched and bodices ripped.

And - without spoiling too much - sacrifices should matter. It’s important that the stakes are real and the threats are carried through when necessary.


The Blackcoat’s Daughter (2015) AKA February

This is one of those ‘smart’ horror movies…and I mean that pejoratively. It’s a horror film that screams out to us “I’m not a schlocky monster movie with boobs and beheadings - I’m for the sophisticated viewer! Look at how much buildup there is! Scary violins…spooooooky atmosphere…twist ending! Your friends are way too stupid to enjoy this!”

Typically, there’s a huge wall between the horror audience and everyone else…the average movie watcher just isn’t up for “Millie and the Murderous Millipede 8”, but, every once in a while, something like The Babadook (2014) shows up and fools normies into believing they’d watch horror films if only the genre were less trashy. This movie is a direct attempt to draw in that audience, and it fails spectacularly to deliver anything at all.

There are about 15 minutes of this 90 minute film in which there is a known danger for us to fear. The rest is spent in the laborious process of ‘building up’…by which we mean “staring down dark hallways in which absolutely nothing happens…but there’s scary music, so - you know - SUSPENSE!” Say what you will about garbage 80s slashers, they gave you a cast of characters, a clear danger, setups, and payoffs…which is more than I can say for this thing…it’s way too sophisticated for plot, characters, dialog, or anything else.

And - on top of that - they clearly had a budget…this is one polished-up turd.


It comes out in the netherlands tomorow. I migth see it then.


Completely agree with your last point. It’s been awhile since one of these tentpole movies actually executed on the emotional heft of a meaningful sacrifice. The last battle dragged for me - @ShotBotWill and I talked about this a lot and diagnosed it as a failure of character development for the villain.

That being said, it is very, VERY exciting to see WONDER WOMAN be made (this was a passion project for director Patty Jenkins since early 2000s!), be executed fairly well, and then for it to go on and be successful. Very exciting.


@cherish Obviously, individual taste comes into play here, but I tend to get bored during big fight scenes. They have a lot of shiny effects, but - like a fireworks display - you can only do so many sequential explosions before the trick wears out. Part of my love for the martial arts genre is the connection to circus, dance, and other arts of the body…there’s a quality of the absolutely real and the absolutely human that simply doesn’t exist in the modern action flick.

But I love Wonder Woman…in amongst the square-jawed squares of comics’ Golden Age is this completely anomalous first wave feminist series that flagrantly discusses pacifism, bisexuality, S&M, and women’s rights. There’s a lot of awkwardness and a lot of ugly, dated views, but it’s clear to see from her humble origins: Wonder Woman is an unlikely import from a previous era, and we’re really lucky to have her.


The Boy (2016)

This is a smart horror movie, and I mean that sincerely: It’s a compelling, disturbing, powerful story that manages to do its thing without engaging the more exploitationy elements of the genre.

The film revolves around Greta who abandons an abusive husband in the U.S. to take a nanny job in the English countryside. This being a horror movie, she’s hired to nanny for Brahms, a creeeeeeepy doll whose parents care for it as though it were human…and - of course - that’s a good idea because there’s something remarkably human about little Brahms, and he tends to throw tantrums when his expectations are not met.

Cinema is a language, and horror is profoundly connected to the way its creators ‘speak’. One of the grievances I had with The Blackcoat’s Daughter is that it would use typical horror cues to telegraph “something’s about to happen” and then follow up with nothing. The Boy never engages in fake-outs or empty tension…every time evil music plays, the plot goes forward. Watching this movie helped me appreciate the idea that ‘bad’ filmmaking sometimes comes down to using good filmmaking technique in the wrong situation.

Either way, this is a gem. A horror film for horror lovers that anyone can appreciate.


2001 A Space Odyssey. One of the best Sci-Fi films ever made in my opinion. I bought the Blu Ray years ago but never watched it. However I really didnt get the whole story. What was the whole purpose of the Jupiter mission? What happend at the Stargate sequence? Was dave traveling trough a black hole? And what the hell happend at the end of the movie? Can someone explain this to me :wink: ?


I saw 2001 years ago and didn’t get it…and I think that’s because it’s not supposed to be gotten.

There’s an episode of Batman (1966) where - instead of making a plan - Penguin leaves ambiguous clues, waits for Batman to interpret them, and does whatever scheme the caped crusader comes up with. 2001 - A Space Odyssey has always felt like that…like something that’s seen as ‘deep’ because lots of people have interpreted meaning into something that has very little.

That’s what I think anyway…because I love Kubrick, I’ve seen nearly all his movies, and this one always felt so…hollow.


The Town (2010)

This movie is a bit of a miracle in terms of how good it is…I liken it to Creed (2015) in the sense that you can see every story beat coming for miles away. It falls for absolutely every cliche in film history and blazes exactly zero trails in zero categories. But none of that matters because the execution is so flawless that you can’t help but stay on the edge of your seat for the whole time.

The Town is just a 100% solid crime drama with characters you sympathize with, stakes that matter, awesome heist sequences, a meaningful love story, and that sweet inevitable downward spiral traditional to these films since The Public Enemy (1931). It’s never going to be one of the best movies ever made, but it is just unbelievably watchable.

Highly recommended for a lazy afternoon.


The Circus Clown (1934)

This is one of those remarkable films that is remarkable because the photographs themselves record something that no longer exists. The ‘golden age’ of American live entertainment is a tiny sliver of history happening roughly between 1865 and 1942 (you’ll notice that the bookends are wars…it’s not accidental). During this time, the biggest entertainment celebrities were circus performers, magicians, and music hall comedians. Charlie Chaplain, Laurel and Hardy, Harold Lloyd, and a huge number of other early Hollywood stars learned everything they knew on these stages.

Like any economic bubble, the big-tent circus had to pop, and pop it did…Ringling Brothers finally finished dying in 2017, but all of its contemporary copycats like Sells Floto went down much earlier. Between the movie industry and the Great Depression, the twentieth century was a complete slaughter for traditional live entertainment. It will never be what it was 100 years ago.

Lucky for us, a few old movies (like this one) offer us a taste of what these shows were really like. The story is useless, the writing is amateur, and the performances (acting wise) are thin at best, BUT that’s not why you watch this movie. You watch it because it’s a thinly written veil for a series of Vaudeville and circus acts from this special time period. Not preserved, resurrected, or re-imagined, but literally as they were done by the people who did them for 20 years at a time. It’s an indispensable record of an entertainment world we dispensed with long ago.

TCM plays incredible stuff at 3 AM…


Taken (2008)

The ultimate father power-fantasy. I’ve already seen this with friends years ago, and it was a fun romp, but I thought I would see it again now with the gained perspective of living alone with my divorced father pushing 60 who has a kind of estranged relationship with my little sister, her daughter obviously. Sounds familiar? :smiley:

I think this is where the success of the film really lies, it captured the state and feelings of the character of the father perfectly, and it was pretty honest about it, the whole movie didn’t want to be something it’s not. Seeing my own father dealing with being alone and with these situations are eerily similar to those depicted in the movie (her daughter agreeing to meet him just to show up with the mother and to want something from him is so fucking real it happened maybe two weeks ago with us :smiley: ), and it was pretty interesting and helped establishing an emotional connection to the character. To be honest my father couldn’t kill 30 Albanians and a bunch of other criminals to save her, but he could probably electrocute them just as well as a high power electrical engineer :smiley:

The score is mostly underscore akin to these gritty action movies of our time mostly blending into the background. I like melodic scores much more, so I don’t have much analysis on this. :smiley:

And it’s so interesting to see how this established Liam Neeson as an action hero well into his 50s, he used his particular set of skills well :smiley:


Man, haven’t been to this thread in awhile.

Magnolia (1999) by Paul Thomas Anderson. Wow that was…overwhelming. Amazing editing and camerawork as well! Ending wasn’t very satisfying though.

My favorite character was the cop, second to the frogs.


City on Fire (1987)

If you’ve heard of this movie, chances are, the main thing you know is that elements of it ended up in Reservoir Dogs (1992). However, this film is very much its own story, and only the final act resembles Tarantino’s maiden movie. City on Fire - like a lot of Hong Kong movies - manages to disguise a very unique story as a paint-by-numbers genre flick…in 1973, it would have been a Kung Fu movie, but in 1987, it had to be a gritty cop drama.

A young Chow Yun-Fat stars as (the creatively named) Chow, an undercover police operative. Chow is having a moral crisis regarding his profession: Undercover agents invariably betray their friends, and he wants out. But - of course - he’s coaxed into ‘one last job’ and ends up surrounded on all sides: The police suspect him, the criminals don’t trust him, and his girlfriend’s about to leave.

There are some clunky scenes and the relationship between Chow and his lady is a little…stalky (like Bill Murray in Ghostbusters - what a creep!!!). Still, this movie more than makes up for its mistakes with interesting characters, pulse-pounding suspense, some cool jazz, and one hell of a ride. Reservoir Dogs may have a better screenplay, but City on Fire is a more entertaining movie.

Watch it!


Power Rangers (2017)

I saw it a couple days ago, I liked it. I can see why others wouldn’t though…


The Italian Job (2003)

Crime movies are the genre I’m trying to burn through right now, and this remake rates pretty highly for a lot of people. Like the high-rolling thieves it portrays, this film has a lot of money and loves to spend it on big, loud things. It stars every male actor you’d heard of in 2003 plus Charlize Theron and delivers a story that absolutely doesn’t matter…everything either goes ‘vroom’ or ‘boom’, and it doesn’t matter too much whether you follow the rest.

The two main action sequences are pretty amazing (particularly the first one), and there’s a level of stunt-driving on display that I don’t think I’m capable of appreciating. However, the rest of the movie is left trying to tell a story that just isn’t meaningful or satisfying. Edward Norton delivers a very…flat performance which kind of hurts me to write out, but there’s just no soul in that bland-beraded-baddie. The romance between Mark Wahlberg and Charlize Theron feels awkward the entire time…you’re meant to understand that they have a ‘past’ together and an unspoken bond that inexorably pulls them toward each other, but I simply never believe any of it.

I don’t want to be too hard on this movie…it was never trying to win best screenplay, but with all the acting talent, SFX talent, and good cinematography, you’d think they could hire someone who can write lines better than “I want a stereo with speakers so loud they blow women’s clothes off!”…the style is here, the substance is not, and this film is simply less than it could have been.


American Heist (2014)

Heist movies tend to come in exactly two shades: Bright fantasy white (like Ocean’s Eleven) or pitch dungeon dark…like this one. American Heist follows two brothers whose toxic relationship is both a source of strength and the means of their undoing. It’s one of those Shakespearian stories where the ‘right’ decision is easier to make, but they choose the wrong one anyway. At times, this film is genuinely moving, and so much of it works so well that it might even remain popular 10 years from now…might.

Unfortunately, some of it doesn’t work. This movie (like so many crime movies) has no idea how to approach the topic of women. There is a female character, but she has no personality, and her only story purpose is to offer one of the brothers an idyllic domestic alternative to robbing banks. It makes me feel like the writer (or a suit) didn’t have confidence in how masterful and well crafted the love between these two brothers is.

Really though, it’s one (irritating) mistake in an otherwise captivating film, and this one easily gets a thumb up from me.