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GruesomeTwosome
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#2681

Post by GruesomeTwosome »

I thought Men was…decent, but a little (or maybe a lot) on-the-nose with its symbolism, and ultimately found it a bit shallow. Some great visuals and sense of foreboding atmosphere that you come to expect from Garland, but I much prefer Ex Machina and even more so Annihilation, his best film IMO.
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#2682

Post by prodigalgodson »

Damn, Top Gun 2 was satisfying. I don't remember being so thrilled walking out of a blockbuster since Inception, and I was much easier to please back then.
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#2683

Post by kongs_speech »

prodigalgodson wrote: June 4th, 2022, 7:19 am Damn, Top Gun 2 was satisfying. I don't remember being so thrilled walking out of a blockbuster since Inception, and I was much easier to please back then.
I'm going back for my second dose next week. I think it's one of the best blockbusters I've ever seen. For a movie of that genre, it nails absolutely everything it should be.
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#2684

Post by Dimitris Psachos Springer »

Unless we can induct those "films" in a *aero-action-rom-drama sub-genre, I think military-propaganda suits it better, a rather original film term :whistling:

*an appropriate term though, after discovering the origins of the word blockbuster B) )
Last edited by Dimitris Psachos Springer on June 4th, 2022, 4:06 pm, edited 1 time in total.
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#2685

Post by Good_Will_Harding »

Sure Top Gun is propaganda. I’ll be taking a propa ganda at Jennifer Connelly. B)
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#2686

Post by kongs_speech »

Good_Will_Harding wrote: June 4th, 2022, 3:17 pm Sure Top Gun is propaganda. I’ll be taking a propa ganda at Jennifer Connelly. B)
She still looks great. Not even "for her age," just in general.
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#2687

Post by hurluberlu »

Top Gun Maverick... so yeah there is some pleasing nostalgia, familiar places and faces, an amazing end dogfight, please take my brain away and all that. But damn this 99% the same story build and ideology as in 1986 ; they are not even trying to tell you something different or differently. I guess most needed to see some "war romantism" again in current times.
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#2688

Post by prodigalgodson »

kongs_speech wrote: June 4th, 2022, 12:24 pm
prodigalgodson wrote: June 4th, 2022, 7:19 am Damn, Top Gun 2 was satisfying. I don't remember being so thrilled walking out of a blockbuster since Inception, and I was much easier to please back then.
I'm going back for my second dose next week. I think it's one of the best blockbusters I've ever seen. For a movie of that genre, it nails absolutely everything it should be.
Nice, glad you enjoyed kong! I might go back for a second time too. I found the first one kind of anticlimactic, love how they kept upping the ante in the third act here.

I was aware while watching of buying into the rah-rah nationalism that might've rubbed me the wrong way previously, but the movie left me with a huge smile on my face; it's just a joy to watch something made with so much love and skill, and that so successfully pulls off the exhilarating effect it aspires to. And sure, there's lots of shots of American flags and whatnot, but it vibed more wistful (or wishful) nostalgia than imperialist malice to me. :shrug:

As for the genre, I'd definitely appreciate more entries in the aero-action-rom-drama category, at least til it gets inundated with CGI :D
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#2689

Post by Tim2460 »

I really enjoyed maverick with whole familly.
Son said he préféré if to the original we saw last week (only on the home cinéma taught...
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#2690

Post by Dimitris Psachos Springer »

"it's just a joy to watch something made with so much love and skill"

With much love and joy, "murikah's armies have slaughtered men/women/children, taking apart every possible living area, even under Obomb-yah's administration, so I guess it is fit we finally get the militaristic glorification of Western "ideals" we needed for so long on the big screen :lol: :woot: (D:)
(courtesy of the white-trash poster child of pax americana)
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#2691

Post by prodigalgodson »

I think you're transposing an obviously cinematographic description onto one of ideals, which I don't think are a major driving force behind the film to begin with.

Also bruh, explain what to who? Save the ironic bromides for the intro to poli-sci kids.
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#2692

Post by Dimitris Psachos Springer »

^ Zero Dark Thirty comes from more or less the same propaganda mechanism, but that one has more detractors nowadays, even compared to the original Top Gun (which has somehow politically/culturally enforced a reagan-mericana, worldwide oppurtinism, amongst several pop-cultural products from the 80s)

So excuuuuse meee if I'm stating the obvious concerning West's underlined, meta-fascism tehe
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#2693

Post by Good_Will_Harding »

L'événement / Happening (2021)

Was going to watch this for the 2021 poll anyway, but decide to prioritize it for... obvious reasons. Pairs well alongside the equally powerful Never Rarely Sometimes Always, this 1960's set French drama centers on the illegality of abortion and how the reactionary cruelty of a country's ruling authorities force increasingly desperate acts of defiance which threaten irreversible harm to the bodies and minds of those involved.

So, totally not relevant at all... :ermm:
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#2694

Post by kongs_speech »

Good_Will_Harding wrote: June 25th, 2022, 7:59 pm L'événement / Happening (2021)

Was going to watch this for the 2021 poll anyway, but decide to prioritize it for... obvious reasons. Pairs well alongside the equally powerful Never Rarely Sometimes Always, this 1960's set French drama centers on the illegality of abortion and how the reactionary cruelty of a country's ruling authorities force increasingly desperate acts of defiance which threaten irreversible harm to the bodies and minds of those involved.

So, totally not relevant at all... :ermm:
One of the best films of 2021 and now it's unfortunately one of the timeliest movies around.
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#2695

Post by blocho »

So tonight I saw a forgotten indie obscurity called Against the Current. A buddy of mine was a production assistant on this movie back in 2009 and said for years that it was an atrocious shoot. And yet, he never saw it until tonight. Well, yes, it's a very bad movie. Although not as bad as my friend anticipated. He said that a lot of really bad dialogue got edited out.

My friend also provided some more juicy behind-the-scenes info:
- The writer/director didn't bother showing up for most of the shoot, leaving the assistant director to do most of the actual directing.
- Justin Kirk complained several times about Joseph Fiennes' acting. To be fair, Fiennes is abysmal.
- My friend was responsible for driving the main actors to the airport after the shoot, but Michelle Trachtenberg was so annoying that every other actor arranged their own ride so they wouldn't have to be stuck in a car with her. Trachtenberg also forced my friend to stop on the way to the airport so that she could go shopping for an hour.
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#2696

Post by OldAle1 »

I watched The Last Duel last night, and was somewhat pleasantly surprised, overall. I say "somewhat" because I'd heard and seen all kinds of stuff about it, some of which made it sound like it'd be pretty interesting, but all of that balanced against my generally ambivalent attitude about Ridley Scott, and seeing trailers and screenshots which were uniformly ugly. I'm sure people who have read my comments about how I hate the desaturated or heavily color-corrected look of much cinema over the past 25 years or so will be bored by this, especially if they like the way, say, many of Clint Eastwood and Steven Spielberg's later films look, or Michael Bay's work. Skip ahead to the next paragraph if you don't want more of my whining. This to my mind is unfortunately a *really* bad example: the interiors in particular are almost a uniformly muddy brown with just a bit of dirty green and yellow, and the exteriors are only slightly better. The sky is always gray, and everything is dim throughout. I assume somebody must be arguing for many of these films that, well, because it's a dark and depressing subject matter all the color and life should be drained out of it. Yeah, no, it doesn't have to be that way. And there are ways of having somewhat subdued colors without making it all gray/brown and murky - see much of Tarkovsky's color work for example, or Malick's The New World. Part of the problem is also contrast and texture, and this film looks very flat and lifeless most of the time, and lacks definition in it's various shades of muck. Or you could just go all the way and do the film in b/w, which - had it been accompanied by better contrast and texture - might have looked better. See Marketa Lazarová or Andrei Rublev. Simply put, to my eyes, this is a relentlessly ugly film. And I watched the BD and have my color settings turned up above the median.

But given all my whining about the visuals - it's a pretty fucking good movie in most other respects. Unlike most of Scott's films, this is a story with some real depth and even crappy visuals can't sabotage a fine screenplay by Nicole Holofcener and two of the principal actors, Matt Damon and Ben Affleck, which adapts a book of the same name by Eric Jager about the last "judicial" duel fought in France in 1385 - that is, a duel that would determine the outcome in a court proceeding. So that duel, between onetime friends Sir Jean de Carouges (Damon) and Jacques le Gris (Adam Driver) is at the heart of the story, but it's really an indictment of male greed and vanity, and man's at that time all-encompassing ownership of women and their bodies. The court case revolves around de Carouges' suit against le Gris for raping his wife Marguerite (Jodie Comer), and the film makes clear throughout that it's her status as essentially property that is what was at stake - and, in fact, should de Carouges lose the duel - that is, lose in the eyes of the court his case, and be proven a liar, Marguerite will go to an even worse fate. The film does a fairly ingenious job of showing the views of all three major characters in a Rashomon-like structure, and what really impressed me is how in the points of view of both Damon's and Driver's characters we don't really see a whole lot of difference in facts, just in personality, attitude and reasoning. And Driver clearly remembers the sexual encounter as something that we today would call a rape - it's just that for him, given a monstrous ego and a world in which women were of less importance than horses, her not clawing his eyes out or throwing herself out a window must have meant that she wanted it.

For me the film never felt too long at 150 minutes, and in fact I wouldn't have minded it being longer and developing the differences between de Carouges and le Gris better; they come off kind of as two sides of the same coin, which perhaps is supposed to be the point, but IMO it might have been stronger if they had shown them to be more different than alike - and yet still brutal in their unconscious misogyny and prejudices and ignorance. But this is not a huge point. The acting is all solid, but I think Comer and Affleck (as a higher-ranking noble who plays off the two antagonists against each other to some extent) probably come off the best; Affleck's role in particular is very useful in providing a bit of humor, something Scott's films are rarely known for. And something that's really needed here.

All in all a really good film; if the visuals didn't bother me so much I'd have rated it higher and it might be top 10 of the year for me. Scott's whining about the poor box office seems way off-base though; this is hardly an action film or even an adventure film, but a serious film about how brutal and ignorant and demeaning to women the medieval world was - and of course it unfortunately has continuing relevance today. That's not the kind of popcorn adventure that brings out massive audiences - it's not really the kind that ever did, frankly; I don't think this would have been any bigger a hit 50 years ago.
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#2697

Post by matthewscott8 »

Top Gun Maverick reminded me of a few movies, Zulu, 633 Squadron and mostly The Dambusters. It is brainless but in a mostly knowing way and considerable care and attention were put into it. It's also a recruitment advert for the US navy. It was tasteful not to name the "enemy nation" that they were going after although it seems likely to be Iran. The actual story of the US / Israeli mission to halt Uranium enrichment in Iran is way more interesting than this movie.
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#2698

Post by Good_Will_Harding »

OldAle1 wrote: July 2nd, 2022, 3:42 pm I watched The Last Duel last night, and was somewhat pleasantly surprised, overall. I say "somewhat" because I'd heard and seen all kinds of stuff about it, some of which made it sound like it'd be pretty interesting, but all of that balanced against my generally ambivalent attitude about Ridley Scott, and seeing trailers and screenshots which were uniformly ugly. I'm sure people who have read my comments about how I hate the desaturated or heavily color-corrected look of much cinema over the past 25 years or so will be bored by this, especially if they like the way, say, many of Clint Eastwood and Steven Spielberg's later films look, or Michael Bay's work. Skip ahead to the next paragraph if you don't want more of my whining. This to my mind is unfortunately a *really* bad example: the interiors in particular are almost a uniformly muddy brown with just a bit of dirty green and yellow, and the exteriors are only slightly better. The sky is always gray, and everything is dim throughout. I assume somebody must be arguing for many of these films that, well, because it's a dark and depressing subject matter all the color and life should be drained out of it. Yeah, no, it doesn't have to be that way. And there are ways of having somewhat subdued colors without making it all gray/brown and murky - see much of Tarkovsky's color work for example, or Malick's The New World. Part of the problem is also contrast and texture, and this film looks very flat and lifeless most of the time, and lacks definition in it's various shades of muck. Or you could just go all the way and do the film in b/w, which - had it been accompanied by better contrast and texture - might have looked better. See Marketa Lazarová or Andrei Rublev. Simply put, to my eyes, this is a relentlessly ugly film. And I watched the BD and have my color settings turned up above the median.

...

All in all a really good film; if the visuals didn't bother me so much I'd have rated it higher and it might be top 10 of the year for me. Scott's whining about the poor box office seems way off-base though; this is hardly an action film or even an adventure film, but a serious film about how brutal and ignorant and demeaning to women the medieval world was - and of course it unfortunately has continuing relevance today. That's not the kind of popcorn adventure that brings out massive audiences - it's not really the kind that ever did, frankly; I don't think this would have been any bigger a hit 50 years ago.
Ahh, glad you liked it! I remember saying months ago that you picked the wrong Ridley Scott film to see in theaters, regarding the Gucci movie. :lol: I also agree with your assessment on its box office success, or lackthereof. Even pre-COVID this wouldn't have exactly lit the box office on fire - consider that Scott's previous R-rated historical epic Kingdom of Heaven was a bit of a flop, and that one had a summer release and was a bit heavier on the action (Robin Hood did much better, but was rated PG-13 and had a recognizable title for casual moviegoers).

re: the de-saturated blue/grey color palette, while on principle I do agree with your distaste for this trend and how many prominent directors have embraced it during the last twenty five years (especially Scott, whose Gladiator had a much richer and varied aesthetic than anything he's done since), I think for this story in particular, the grim visuals match the equally serious tone of the story and subject matter. The world, as seen from the POV of Marguerite de Courrèges, is a dark, unfair place where she has practically zero autonomy or free will over her life and body. Which is what makes the final scene, Marguerite alone with her child, stand out more visually, with its sunny and green look. But for as long of a film as this, I can definitely see how it would grow tiring after a while.

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#2699

Post by OldAle1 »

Good_Will_Harding wrote: July 2nd, 2022, 6:47 pm Ahh, glad you liked it! I remember saying months ago that you picked the wrong Ridley Scott film to see in theaters, regarding the Gucci movie. :lol: I also agree with your assessment on its box office success, or lackthereof. Even pre-COVID this wouldn't have exactly lit the box office on fire - consider that Scott's previous R-rated historical epic Kingdom of Heaven was a bit of a flop, and that one had a summer release and was a bit heavier on the action (Robin Hood did much better, but was rated PG-13 and had a recognizable title for casual moviegoers).

re: the de-saturated blue/grey color palette, while on principle I do agree with your distaste for this trend and how many prominent directors have embraced it during the last twenty five years (especially Scott, whose Gladiator had a much richer and varied aesthetic than anything he's done since), I think for this story in particular, the grim visuals match the equally serious tone of the story and subject matter. The world, as seen from the POV of Marguerite de Courrèges, is a dark, unfair place where she has practically zero autonomy or free will over her life and body. Which is what makes the final scene, Marguerite alone with her child, stand out more visually, with its sunny and green look. But for as long of a film as this, I can definitely see how it would grow tiring after a while.

Image
Yes, you're right about that last scene and that shot, and I think your analysis of why this kind of visual look might be appropriate also works - whether it's actually the reason such was chosen or not, I don't know - obviously as has been discussed in the past, the bleached-out look has been fairly popular in all kinds of films, including some where it definitely seems inappropriate - Eastwood's musical Jersey Boys for example. And as I said, it's not quite as bad in the outdoor sequences. But I'm just sick of it, and while I used to think that maybe this was something to be blamed on digital photography and processing, it's clearly not - just look at Céline Sciamma's last two films, both shot by Claire Mathon, both digital, both incredibly impressive in their uses of color. So I think there are ways to communicate pessimistic stories, and ways to have color that is somewhere between this film and La La Land or Speed Racer; it just seems the default is so often to drain everything until it's nearly monochrome.

Anyway I don't know what the hell Scott is on. He's still at least a *competent* filmmaker, and the difference between the general quality of this film and Gucci is as much the screenplay as anything, so when he gets a good script he can still deliver a watchable film. But he seems to have lost his aesthetic vision somewhere along the way, along with a lot of his peers. And he, and all these old dudes, just have to come to terms with the fact that barring some really strange unforeseen cultural changes happening, the blockbusters belong to people of the Star Wars and later generations and tastes today, not those of the Ben-Hur era. I don't know how he even got the money to make this, frankly, given his less than amazing box-office track record.
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#2700

Post by OldAle1 »

Actually, looking a little closer, it does look like the majority of Scott's films over the past couple of decades have done decent biz - most of them have at least doubled their listed budgets worldwide, and The Martian was a monster hit. But his period epics since Gladiator --- not really. Eh, Hollywood accounting, nobody seems to be able to make sense of it. And how revenue from streaming services is counted, that just adds to the mystery.
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#2701

Post by Ebbywebby »

I started The Last Duel once and lost interest. Didn't finish.
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#2702

Post by kongs_speech »

Ebbywebby wrote: July 2nd, 2022, 7:39 pm I started The Last Duel once and lost interest. Didn't finish.
You didn't even see the last duel! :circle:
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#2703

Post by Good_Will_Harding »

OldAle1 wrote: July 2nd, 2022, 7:12 pm Yes, you're right about that last scene and that shot, and I think your analysis of why this kind of visual look might be appropriate also works - whether it's actually the reason such was chosen or not, I don't know - obviously as has been discussed in the past, the bleached-out look has been fairly popular in all kinds of films, including some where it definitely seems inappropriate - Eastwood's musical Jersey Boys for example. And as I said, it's not quite as bad in the outdoor sequences. But I'm just sick of it, and while I used to think that maybe this was something to be blamed on digital photography and processing, it's clearly not - just look at Céline Sciamma's last two films, both shot by Claire Mathon, both digital, both incredibly impressive in their uses of color. So I think there are ways to communicate pessimistic stories, and ways to have color that is somewhere between this film and La La Land or Speed Racer; it just seems the default is so often to drain everything until it's nearly monochrome.

Anyway I don't know what the hell Scott is on. He's still at least a *competent* filmmaker, and the difference between the general quality of this film and Gucci is as much the screenplay as anything, so when he gets a good script he can still deliver a watchable film. But he seems to have lost his aesthetic vision somewhere along the way, along with a lot of his peers. And he, and all these old dudes, just have to come to terms with the fact that barring some really strange unforeseen cultural changes happening, the blockbusters belong to people of the Star Wars and later generations and tastes today, not those of the Ben-Hur era. I don't know how he even got the money to make this, frankly, given his less than amazing box-office track record.
Funnily enough, I had a conversation with a coworker today who watched the film sometime last week and he had pretty much the exact same complaints about the desaturated blue-grey color palette. :lol: The sentiment has reached the mainstream public!

And yeah, Scott's choices of projects as of late are... very hit or miss. You're right that the screenplay is the main contributing factor in what makes his films sink or float, as we saw with his two from last year. It's hard to figure out what he's going for from project to project. Usually I'd say he picks whatever he thinks he can get some neat visuals out of and work with some beloved actors on, but every so often he goes for something tighter and smaller scaled with a stronger emphasis on the plotline, a la All the Money in the World (a pretty engrossing crime thriller that I think he was trying to recapture some of the same feeling with House of Gucci but fell short). Historical epics are definitely still of interest to him, but as we've already established, they aren't nearly as much of a sure financial bet as they were decades ago.
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#2704

Post by blocho »

blocho wrote: April 6th, 2022, 2:49 pm I went to the new Alamo Drafthouse in downtown Manhattan last night to see Streets of Fire from 1984, and the sound was louder than I've ever heard in a movie theater. Really ear-splitting stuff. I happened to have earplugs in my backpack, so I used those, but it was still too loud. I asked a staff member to lower the sound, but nothing happened, so I left after 10 minutes. It didn't help that the seats were more uncomfortable than any I've encountered in a theater before. I had a headache and a backache for the rest of the day.

I managed to get a refund of the ticket price, but they didn't refund the "service charge" for the ticket. I normally wouldn't care enough to bother about, but now it looks I got hit with another service charge for the refund.
The Alamo continues to disappoint. I went to see Top Gun at the Brooklyn branch this morning, but I had to leave eventually because the theater was too cold. I'm guessing it was somewhere between 60 and 65 (Fahrenheit). I asked an employee to lower the AC, but nothing happened. I'm getting really fed up with the Alamo.
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#2705

Post by kongs_speech »

random spammer wrote: guardian of the galaxy 2 cast and expandables, Luci, terminator, transporter and season how I meet your father cast.
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#2706

Post by Torgo »

:lol:

Interesting what you can find on the net ..
https://stopforumspam.com/ipcheck/95.181.232.137
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#2707

Post by Good_Will_Harding »

The Black Phone (2022 - Scott Derrickson)

I actually saw this a few weeks ago, and wanted to write something up about it then, but then the Supreme Court overturned Roe v Wade, and all my attention turned from current releases to trying my hardest not have a meltdown over the impending, existential doom that is the fall of American democracy as we know it. <_< Somehow the current slate of US horror films just doesn't seem quite as unsettling as our actual reality these days.

Anyhow, this particular horror film was quite good and surpassed my fairly modest expectations. I've seen and liked plenty of stuff from this director before, but this is his first work that really stands out to me as especially noteworthy. The merging of a fairly grounded slasher/kidnapping story with some restrained supernatural elements really worked for me, and the 70's setting was integrated well and not shoved down your throat like so many other nostalgic/retro set films and TV shows lately. Ethan Hawke has been front and center in all the marketing, and he delivers a reliably engaging performance in the antagonist role, but it's the younger actors who really shine here in the principal roles.

I must say that so far this year, I've been pretty satisfied by most of the horror films we've gotten in wide release (Scream, X, Men, and now this). None of them are masterpieces or game changers, but they each have plenty to offer and stand out from one another in a number of ways.
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#2708

Post by Silga »

The Runner Stumbles (Stanley Kramer, 1979) 8/10

What a beautiful and somber film. Kathleen Quinlan's performance is one of a kind. She plays a nun Sister Rita who's sent to the parish in the rural town in Michigan where she meets Father Rivard played by none other than Dick Van Dyke. I never expected to see Dick Van Dyke in a such a role and while he is perfectly fine, its Quinlan who steals every bit of, what came to be, Stanley Kramer's last picture. Beautiful cinematography by Laszlo Kovacs and a great supporting turn by Maureen Stapleton. Young Beau Bridges too.
A sad and yet a very poignant story about religious convictions taking a tragic turn. I was surprised to read afterwards that the film is actually based on true story that took place in the same town of Isadore, Michigan in 1907.

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#2709

Post by Good_Will_Harding »

Summer movie season is starting to die down a little, so here's just a quick round-up up some of the stuff I've seen lately:

Top Gun: Maverick - Generally lives up to the hype. I was fairly lukewarm on the original (which I re-watched while I had the 'rona back in May), but this improves upon it in just about every imaginable way. The aerial training and dogfighting sequences in particular are some of the best of their kind, and almost single-handedly make this worth seeing on the big screen.

Hustle - Another pretty solid Adam Sandler vehicle - not quite as good as Uncut Gems, but this also benefits from taking its characters and subject matter more seriously than the average Sandman joint. Not usually a big sports movie guy, but between Moneyball and this, the whole behind the scenes procedural approach to the usual sports drama formula is much more to my liking.

Elvis - Somehow feels both way too long and yet bizarrely rushed and undercooked at the same time. Austin Butler's titular performance is legitimately great and helps keep this interesting throughout most of the runtime, along with Baz Luhrmann's reliably stylized directing. Not a must see, but worth watching if it seems interesting.

Thor: Love and Thunder - Loved the previous Thor: Ragnarok for its much fresher and more lighthearted take on the character, and while this offers a lot more of the same, it overall left me a little cold. Mostly because this tries to tackle a lot more than its predecessor, but with even less of a runtime. However, I will say that Taika Waititi is at least one of the few current Marvel directors who puts any amount of thought at all into the visuals and imagery of his films, CGI heavy though they are, so there's that.

The Gray Man - Heavy on tropes and conventions of the spy thriller genre, but its likable ensemble cast and breezy, forward moving pace help make this a fairly enjoyable watch. I also realized after watching this that it's the first film Ryan Gosling has appeared in since First Man, a whopping four years ago. Where has he been!?

One last thing I'll note is that we're not even as the end of the summer yet, and there's already been three wide releases that have generated at least a certain amount of awards buzz (Elvis, Maverick, and Everything Everywhere All At Once - only the latter two of which I'm betting will land BP nods), which for being not so far removed from all theaters being completely shut down just a short time ago, I do find worth remarking upon.
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#2710

Post by Torgo »

Good_Will_Harding wrote: July 16th, 2022, 10:21 pm I also realized after watching this that it's the first film Ryan Gosling has appeared in since First Man, a whopping four years ago. Where has he been!?
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#2711

Post by kongs_speech »

Even if it's for the hack Russo Brothers, it's good to have Ryan Gosling, God of the film bros, back in action. Everything about Barbie so far looks amazing. I love the vibe captured by the set photos.
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Post by kongs_speech »

Both Sides of the Blade is another lovely, melancholy Claire Denis experience. If it makes it to a theater near you, consider showing it some support. My roommate, our moms and myself were the only four people in my screening. Guess that's because there are no minions or superheroes in it. :(
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#2713

Post by OldAle1 »

kongs_speech wrote: July 19th, 2022, 1:14 pm Both Sides of the Blade is another lovely, melancholy Claire Denis experience. If it makes it to a theater near you, consider showing it some support. My roommate, our moms and myself were the only four people in my screening. Guess that's because there are no minions or superheroes in it. :(
Well I live in AMERICA and we don't watch readalong shit like that. I here they don't let you take yer AR15s into them furrin the-aterhers neither. Top Gun and guys in tights punching each other is good enough for me, it was good enough for my dad and John Wayne.
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#2714

Post by kongs_speech »

OldAle1 wrote: July 19th, 2022, 2:02 pm
kongs_speech wrote: July 19th, 2022, 1:14 pm Both Sides of the Blade is another lovely, melancholy Claire Denis experience. If it makes it to a theater near you, consider showing it some support. My roommate, our moms and myself were the only four people in my screening. Guess that's because there are no minions or superheroes in it. :(
Well I live in AMERICA and we don't watch readalong shit like that. I here they don't let you take yer AR15s into them furrin the-aterhers neither. Top Gun and guys in tights punching each other is good enough for me, it was good enough for my dad and John Wayne.
When I think back on how much money The Passion of the Christ grossed, I wonder if they actually bothered reading its subtitles or if they just came for the uplifting experience of seeing their lord and savior getting his shit kicked in.
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#2715

Post by OldAle1 »

kongs_speech wrote: July 19th, 2022, 2:26 pm
OldAle1 wrote: July 19th, 2022, 2:02 pm
kongs_speech wrote: July 19th, 2022, 1:14 pm Both Sides of the Blade is another lovely, melancholy Claire Denis experience. If it makes it to a theater near you, consider showing it some support. My roommate, our moms and myself were the only four people in my screening. Guess that's because there are no minions or superheroes in it. :(
Well I live in AMERICA and we don't watch readalong shit like that. I here they don't let you take yer AR15s into them furrin the-aterhers neither. Top Gun and guys in tights punching each other is good enough for me, it was good enough for my dad and John Wayne.
When I think back on how much money The Passion of the Christ grossed, I wonder if they actually bothered reading its subtitles or if they just came for the uplifting experience of seeing their lord and savior getting his shit kicked in.
I'd bet money that The Passion of the Christ was the only R-rated film my mom's younger sister ever saw in her life; she wouldn't let my cousins see anything R-rated until they went away to college and no longer were under her control. Only the oldest of the three retained his mother's religiosity - though he has become progressively more liberal on many issues over the years, and I doubt he's voted R since the 90s, if then - the middle one went to Hollywood to become a demonic hellspawn movie industry guy, and the youngest became a science teacher in a blue-ish part of a very red state (TX).

Sorry for the pointless aside there, that film just always makes me think of such things. And yeah, it is probably the only subtitled film ever seen by at least 2/3 of it's audience. And with triple the domestic box office of CTHD it's by far the highest-grossing film domestically that's not in English. Pathetic.
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#2716

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kongs_speech wrote: July 19th, 2022, 1:14 pm Both Sides of the Blade is another lovely, melancholy Claire Denis experience. If it makes it to a theater near you, consider showing it some support. My roommate, our moms and myself were the only four people in my screening. Guess that's because there are no minions or superheroes in it. :(
It seems the US are getting the first theatre release for this and almost two months ahead of France and the rest of Europe. It has to be some really adventurous distributor.
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#2717

Post by kongs_speech »

OldAle1 wrote: July 19th, 2022, 3:10 pm
kongs_speech wrote: July 19th, 2022, 2:26 pm
OldAle1 wrote: July 19th, 2022, 2:02 pm

Well I live in AMERICA and we don't watch readalong shit like that. I here they don't let you take yer AR15s into them furrin the-aterhers neither. Top Gun and guys in tights punching each other is good enough for me, it was good enough for my dad and John Wayne.
When I think back on how much money The Passion of the Christ grossed, I wonder if they actually bothered reading its subtitles or if they just came for the uplifting experience of seeing their lord and savior getting his shit kicked in.
I'd bet money that The Passion of the Christ was the only R-rated film my mom's younger sister ever saw in her life; she wouldn't let my cousins see anything R-rated until they went away to college and no longer were under her control. Only the oldest of the three retained his mother's religiosity - though he has become progressively more liberal on many issues over the years, and I doubt he's voted R since the 90s, if then - the middle one went to Hollywood to become a demonic hellspawn movie industry guy, and the youngest became a science teacher in a blue-ish part of a very red state (TX).

Sorry for the pointless aside there, that film just always makes me think of such things. And yeah, it is probably the only subtitled film ever seen by at least 2/3 of it's audience. And with triple the domestic box office of CTHD it's by far the highest-grossing film domestically that's not in English. Pathetic.
Honestly, I'm pretty sure the only films with subtitles that my dad has seen are by Mel Gibson.
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#2718

Post by kongs_speech »

hurluberlu wrote: July 19th, 2022, 3:49 pm
kongs_speech wrote: July 19th, 2022, 1:14 pm Both Sides of the Blade is another lovely, melancholy Claire Denis experience. If it makes it to a theater near you, consider showing it some support. My roommate, our moms and myself were the only four people in my screening. Guess that's because there are no minions or superheroes in it. :(
It seems the US are getting the first theatre release for this and almost two months ahead of France and the rest of Europe. It has to be some really adventurous distributor.
IFC has been a really excellent distributor so far this decade, and I'm fortunate enough that my AMC screens most of their films.
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#2719

Post by GruesomeTwosome »

kongs_speech wrote: July 19th, 2022, 1:14 pm Both Sides of the Blade is another lovely, melancholy Claire Denis experience. If it makes it to a theater near you, consider showing it some support. My roommate, our moms and myself were the only four people in my screening. Guess that's because there are no minions or superheroes in it. :(
That title is new to me, so I was thinking “Damn, Claire Denis has a THIRD film in 2022 besides Stars at Noon and Fire?”, but I see that Fire has just been re-titled as Both Sides of the Blade. Anyways, I thought you were in a somewhat rural/small-town part of Florida? How’d this film get screened there?! I just checked my larger metro area (Philly) and it doesn’t seem to be playing anywhere.
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#2720

Post by kongs_speech »

GruesomeTwosome wrote: July 19th, 2022, 6:44 pm
kongs_speech wrote: July 19th, 2022, 1:14 pm Both Sides of the Blade is another lovely, melancholy Claire Denis experience. If it makes it to a theater near you, consider showing it some support. My roommate, our moms and myself were the only four people in my screening. Guess that's because there are no minions or superheroes in it. :(
That title is new to me, so I was thinking “Damn, Claire Denis has a THIRD film in 2022 besides Stars at Noon and Fire?”, but I see that Fire has just been re-titled as Both Sides of the Blade. Anyways, I thought you were in a somewhat rural/small-town part of Florida? How’d this film get screened there?! I just checked my larger metro area (Philly) and it doesn’t seem to be playing anywhere.
I moved to a larger urban area in May. B)
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