Doomsday
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Post by Doomsday on Dec 10, 2023 17:04:38 GMT -5
Oh damn, I blew right by that thinking it was The Wrong Man. I haven't seen The Wrong Guy. Which do you recommend, that or Force Majuere?
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IanTheCool
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Post by IanTheCool on Dec 10, 2023 17:07:03 GMT -5
Depends what you're up for. Wrong Guy is a dumb comedy, if you're in the mood for that. Force Majeure has a little more thought candy. I was gonna say brain candy, which is ironic since wrong guy stars one of the kids in the hall.
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IanTheCool
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Post by IanTheCool on Dec 16, 2023 16:24:44 GMT -5
Thief
This is a pretty slickly made crime thriller. The plot has been done so many times since then, its hard to think of it as fresh, though this is considered a big influence in that area, so that needs to be taken into account. But James Caan is very compelling as a -take-no-guff criminal. Watching him stick up for himself makes for some compelling scenes, especially with the cop who tries to squeeze him for a payoff and when he gets underpaid by the boss guy.
There are some aspects I don't like, mostly with the adopted kid. Everything about that feels so pragmatic and blase that its kind of disgusting. Like, the woman is just handed this kid and makes no emotional response whatsoever. I dunno, it bothered me. The other thing I found disappointing was that the climax basically just boils down to a shootout, and there's really no reason Caan makes it through other than that he just does. The triumphant last shot really works though.
Those quibbles aside, I thought this was really well-directed, and you can see why Doomsday's boy would go on to make a name for himself. The procedural aspects of the robberies were neat, the music seemed to hit just the right balances at just the right times, and it was shot well. Recommend.
8/10
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Doomsday
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Post by Doomsday on Dec 16, 2023 18:38:58 GMT -5
I will likely go with Simple Plan. Thief This is a pretty slickly made crime thriller. The plot has been done so many times since then, its hard to think of it as fresh, though this is considered a big influence in that area, so that needs to be taken into account. But James Caan is very compelling as a -take-no-guff criminal. Watching him stick up for himself makes for some compelling scenes, especially with the cop who tries to squeeze him for a payoff and when he gets underpaid by the boss guy. There are some aspects I don't like, mostly with the adopted kid. Everything about that feels so pragmatic and blase that its kind of disgusting. Like, the woman is just handed this kid and makes no emotional response whatsoever. I dunno, it bothered me. The other thing I found disappointing was that the climax basically just boils down to a shootout, and there's really no reason Caan makes it through other than that he just does. The triumphant last shot really works though. Those quibbles aside, I thought this was really well-directed, and you can see why Doomsday's boy would go on to make a name for himself. The procedural aspects of the robberies were neat, the music seemed to hit just the right balances at just the right times, and it was shot well. Recommend.
8/10
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IanTheCool
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Post by IanTheCool on Dec 16, 2023 19:19:33 GMT -5
I couldn't find Simple Plan anywhere
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Doomsday
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Post by Doomsday on Dec 16, 2023 19:34:25 GMT -5
I couldn't find Simple Plan anywhere It's in theaters right now!
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Doomsday
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Post by Doomsday on Dec 16, 2023 19:34:40 GMT -5
Oh wait nevermind, I was looking at a calendar from 1998. My bad.
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Dracula
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Post by Dracula on Dec 21, 2023 1:56:36 GMT -5
Last round: The Hunt (2012) For the longest time I held off on watching the films of Thomas Vinterberg, thinking he might make a good subject for one of my “crash course” marathons at some point, and didn’t end up watching his recent success The Hunt because of this. However I needed to see his film Another Round before the 2020 Oscars and also found myself watching his breakout film The Celebration after that, so clearly the time was right to just watch this thing instead of procrastinating some more. The film stars Mads Mikkelsen as a kindergarten teacher in a small town who finds himself falsely accused of child molestation and the effect that this has on his life as the town believes the false accusation and makes him a pariah. The falsity of this accusation is unambiguous in the film, which is important, but it also wisely doesn’t make this some sort of malicious act on the part of the accuser or those who believe them. In fact the film presents a plausible and in that sense kind of chilling scenario of how such a misunderstanding could happen and one of the more unnerving aspects of the movie is that it isn’t exactly clear what anyone did wrong to lead to this situation and all the pain associated with it. Then there’s the part of the film in which the town foments a sort of witch hunt (hence the title) against him and other supposed victims emerge appear to be inspired by the case in the documentary Capturing the Friedmans, although that wasn’t a movie about people who were entirely innocent and this offers at least a little more chance of redemption for all involved by the end. In a lot of ways this is a typically dark and biting Danish drama, albeit one that is a bit less steeped in dark comedy than what you sometimes get from Vinterberg and other from that clique and which is more formally conventional visually. Strong work. **** out of Five
This round:
Elf (2003) This is a movie I’d successfully avoided for the longest time for most of the same reasons I tend to avoid Christmas movies and also the same reason I avoid something like 75% of Will Ferrell movies. I’m going to be completely honest and say that I mostly intended to watch this to hate on it but, I don’t know, I’m certainly not going to say it “won me over” or anything but it ended up being more of a “meh” experience than something to be truly hated. The film is essentially an exploration of how not to do a transracial adoption: Santa adopts a human into his elf community without giving him any education about his native culture and then when he tries to reconnect with his roots he’s completely incapable of relating to any of his own people. This leads to a lot of fairly amusing fish-out-of-water scenarios early in the film but it starts running out of steam eventually and his continued failures to fit in start to feel like a lack of effort on his part more than anything. I also think there’s kind of an illogical paradox at the center of all this: in the world of this film Santa is canonically real and has in fact been delivering presents all these years and yet the world still seems to think he doesn’t exist and acts with disbelief to the antics of “Buddy the Elf.” That… doesn’t really make sense. Where do they think these presents that haven’t been purchased by parents have been appearing from? It’s dumb. Okay, I realize I’m probably reaching a bit here for complaints. My real reason for not caring for it are a lot more boring: it’s a comedy and I didn’t find it particularly funny. I’m not oblivious to why it’s been popular though. I may not be the best Christmas movie by it might be the most Christmas ever as it invokes pretty much every single tradition and symbol of the season and uses just about every Christmas song of the last fifty years. The movie also has a fairly impressive cast including late career performances by James Caan and Ed Asner and I was also definitely amused by Bob Newhart being there as a deadpan elder elf. Still, plainly not a movie for me, I probably would have been happy to have left this one for the zoomers. **1/2 out of Five
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PhantomKnight
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Post by PhantomKnight on Jan 7, 2024 20:16:15 GMT -5
Past Lives (2023)
Sometimes, a movie can just sneak up on you, and I think that's the case with me and Past Lives. Not so much in the sense that I had never heard of this movie before seeing it -- because I most certainly had -- but rather in the sense that this thing saves its most potent, knockout-style punch right for the very end. Because as this film was going along, I was already plenty absorbed in this intimate, what-if romantic drama: the story felt barebones/stripped-down in a truly humanistic way, the characters felt like real people (and the movie treated them as such), and he way in which the plot unfolded felt honest and believable and respectful, giving it a quiet power that just kept drawing me in. So, I was already well caught up in this yarn that debut writer-director Celine Song was pretty masterfully spinning. Her style/approach to this definitely recalls some of Richard Linklater's work on the Before Trilogy, but Past Lives still very much carves out its own identity for itself. And then those final few minutes come along... Said final few minutes might just constitute one of the most impactful endings I've seen in any movie in recent years. It's so simple -- much like the rest of the film before it -- and yet, Song and her actors manage to drive home even further the entire idea/theme of the film in such a way that is so quiet, yet so much of a gut punch at the same time. It emphasizes the heartbreak and complicated nature of the whole situation at the heart of the film while also wisely not betraying, compromising or undercutting any of the characters; instead, it's respectful, no matter how difficult it may be. And it's interesting, because as I was watching Past Lives, I was going, "Yeah, this is very strong, but would I agree with so many others that this is one of the best of the year?" And then that ending happened, and yeah, I think I have to agree, because man, does this movie stick the landing. I'll be thinking about that ending for a while.
****/****
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Doomsday
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Post by Doomsday on Jan 12, 2024 1:14:31 GMT -5
Force Majeure
When I saw that Force Majeure featured an avalanche the first thing I thought of was the box office smash and multiple Oscar-winning critical darling, Vertical Limit. 'If Force Majeure has even a small fraction of the action that Vertical Limit has then I'm in for a treat' I thought. So I sat down with some popcorn and greatly anticipated the excitement that was to come, complete with all the thrills that a harrowing beat the clock mountain rescue movie would have. Before I knew it I was right in the thick of it, watching two couples whose relationships are stripped bare due to a husband who ran off when he came face to face with an avalanche at a ski resort. Vertical Limit's true companion piece indeed!
On a more serious note, Force Majeure is the witnessing of a relationship as insecurities lay bare the individual doubts and struggles that can be hidden between people after years and children have seemingly solidified their situation. While on vacation in the Alps with their two children, Tomas and Ebba are enjoying lunch when an avalanche heads toward the hotel. Tomas flees momentarily, leaving Ebba and the kids behind. Ebba questions Tomas' commitment to the family, her relationship with him and soon Tomas doubts his own authenticity and place in life. It's a very interesting movie with a unique catalyst. The avalanche serves as a starting point as well as an obvious metaphor to pull this somewhat standard relationship apart at the seams and I think anyone in a relationship for any length of time knows that the more you build together, the more you can lock away. I guess the key is to not let something like an avalanche be the reason for things to finally start spilling out while on a family vacation.
B+ so says Doomsday
Who's all in for next round?
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Neverending
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Post by Neverending on Jan 12, 2024 1:50:04 GMT -5
Who's all in for next round?
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Dracula
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Post by Dracula on Jan 12, 2024 8:05:57 GMT -5
Who's all in for next round? in
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PG Cooper
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Post by PG Cooper on Jan 12, 2024 8:58:20 GMT -5
In. I'll get to Nimona soon. Maybe tonight. Depends on how much I drink.
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PhantomKnight
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Post by PhantomKnight on Jan 12, 2024 9:27:18 GMT -5
In again.
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PG Cooper
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Post by PG Cooper on Jan 13, 2024 14:11:47 GMT -5
Nimona
There's a lot to like about Nimona if you can get over how annoying the movie can be. That the film has substantial Queer representation and thoughtful Queer subtext is unambiguously great, the vision of a high-fantasy kingdom in a futuristic context is intriguing, and the fact that the movie managed to overcome a corporate merger and still get made is very cool. But man is the film's hyper-active energy and lolcat style humour just aggressively not for me. I'd frequently find myself getting into the story and characters only for some burst of wacky fun to make my eyes roll. This isn't just a matter of taste either, Nimona will jump so quickly from a pop-music scored action scene that's basically all gags to "I am a monster and no one will ever see me any different" that the results are jarring. Thankfully the filmmakers manage to pull the tone together for a pretty solid climax which also spots a lot of Nimona's best animation and ends the movie on a high-note. I also appreciate the heart of the movie is less strictly about accepting the differences of others (though that is there and feels sincere) and more about undoing prejudiced thinking at both the personal and structural level. Again, lots to like here, and I'm not surprised people more into the style have been completely swept away by Nimona. I was not, but overall I still liked it okay.
C+
In for next round.
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Nilade
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Post by Nilade on Jan 13, 2024 19:25:27 GMT -5
Still got to watch my movie, I'll try to get it in within the next two weeks. Passing on this round.
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Doomsday
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Post by Doomsday on Jan 14, 2024 16:37:00 GMT -5
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IanTheCool
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Post by IanTheCool on Jan 14, 2024 17:46:29 GMT -5
sure
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Doomsday
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Post by Doomsday on Jan 17, 2024 13:18:31 GMT -5
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Neverending
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Post by Neverending on Jan 17, 2024 17:30:39 GMT -5
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PhantomKnight
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Post by PhantomKnight on Jan 17, 2024 19:15:09 GMT -5
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PG Cooper
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Post by PG Cooper on Jan 17, 2024 19:23:01 GMT -5
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PhantomKnight
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Post by PhantomKnight on Jan 17, 2024 20:10:58 GMT -5
Air
I'll give Brotherhood of the Wolf a whirl.
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Dracula
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Post by Dracula on Jan 17, 2024 20:31:09 GMT -5
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PG Cooper
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Post by PG Cooper on Jan 17, 2024 20:45:21 GMT -5
AirI'll give Brotherhood of the Wolf a whirl.
I haven't seen it but it did pretty clearly inspire my favourite videogame.
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