What Was The Last Movie You Watched?

[Theroadlesstravelled]

On 27/03/2023 at 13:06, MazzyStar said:

John Wick (2014) - A cliched movie with a plot that has been done a number of times before.

Reddits favourite actor gives a ok performance, and on the whole I thought it was quite overrated and wasn’t much different to the average action movie. 

 

 

[Miguel Sanchez]

Cast Away

Man spends four years alone on an island sustaining himself with the thought of returning to Helen Hunt. Maybe you had to be there.

[welshbairn]

Tetris, supposedly filmed in Glasgow and Aberdeen but to be honest I didn't notice, so praise to the filmmakers for that as it's set in Moscow. Bit of a daft thriller full of Cold War cliches, the BBC 4 documentary from 2004 is much better, one of these time when truth is more interesting than fiction.

 

 

Edited March 31, 2023 by welshbairn

[Mark Connolly]

25 minutes ago, welshbairn said:

Tetris, supposedly filmed in Glasgow and Aberdeen but to be honest I didn't notice, so praise to the filmmakers for that as it's set in Moscow. Bit of a daft thriller full of Cold War cliches, the BBC 4 documentary from 2004 is much better, one of these time when truth is more interesting than fiction.

 

 

Didn't realise it was finally out.

I know the exterior of 95 Morrison St (ie the Co-Op Building) in Glasgow was used for some shots, as my mate lived there at the time

[welshbairn]

6 minutes ago, Mark Connolly said:

Didn't realise it was finally out.

I know the exterior of 95 Morrison St (ie the Co-Op Building) in Glasgow was used for some shots, as my mate lived there at the time

It's not a bad film, some of it's pretty funny, and they must have hoovered up every Trabant and Lada in the UK. I just preferred the true story with real people and without the stereotypes.

[BFTD]

I just saw Kermode's review of Tetris - I heard there was a film being made of it years ago and just assumed it'd be some desperate shite like that Battleship film. Just stick the name on and people will go; who cares what the content is.

Be thankful for small mercies, I guess.

[Frankie S]

Apologies in advance for the lengthy post. I had meant to upload this in stages, but never quite found the time. These are all the films I saw in March.

#24 Let’s Scare Jessica to Death (John D. Hancock, 1971) Amazon Prime 8
When horror aficionado Kim Newman (uniquely) listed this as one of his 10 Greatest Films of All Time in the 2022 Sight and Sound Critics’s poll, I was intrigued. 
The title is distinctly unpromising - sounding like just another teen slasher film - but the film itself is admittedly rather good. It’s a creepy ghost story set in the last days of the hippy era, as the idealistic ‘60s morph into the discontented ‘70s. While ‘Let’s Scare Jessica to Death’ is unlikely to challenge for the top 10 films I’ve watched this year, let alone make my ‘greatest ever’ list, I’m glad that Mr. Newman brought it to my attention, as it’s certainly one of least celebrated and more interesting horror films of the era.

#25 Messiah of Evil (Willard Huyck, 1973) Shudder via Amazon Prime 7.5
This low budget horror film from the early ‘70s is such a haphazard collection of amateurish elements, any one of which would normally be sufficient to scuttle a project (terrible acting, a dreadful script, and the complete absence of anything resembling a coherent plot), that it’s remarkable that these defective ingredients blend into an intermittently effective, and occasionally inspired, whole. 
Rather like two of my favourite low budget horror films, Herk Harvey’s ‘Carnival of Souls’ and Curtis Harrington’s ‘Night Tide’, ‘Messiah of Evil’ makes a virtue of its limitations, with the duel voiceovers of the female protagonist (Arletty) and her artist father delivered so flatly, eviscerated of emotion and unencumbered by anything approaching vitality, that they provide a suitably spectral accompaniment to the action (such that there is). 
The film spends a lot of time building up to not very much, but somehow creates the irrational feeling that whatever is going on in the margins, and just off screen, is irredeemably strange. Particularly effective in this respect is Arletty’s father’s beach house, which is stuffed to the brim with ominous artworks, often featuring mysterious figures, who seem to be lurking in the shadows, eavesdropping on conversations, and watching the house’s inhabitants. 
In this respect, at least, the film is a triumph, and art director Jack Fisk would go on to work with David Lynch and Terrence Malick. 
Most of the cast are barely competent, though Michael Greer’s suave Romanian playboy is suitably seedy, and Elisha Cook Jr. is great in a cameo role. 
There’s no doubt that some of the later scenes were heavily influenced by George A. Romero’s ‘Night of the Living Dead’, and the ending is, perhaps predictably, anti-climactic, but for much of its duration, this ramshackle mess of a film somehow transcends its limitations, and occasionally, perhaps accidentally, glimpses greatness.

#26 Creed III (Michael B. Jordan, 2023), Everyman Cinema, Edinburgh 5
This is the first film in the ‘Rocky’ franchise that I’ve seen, and likely to be the last. My expectations were fairly low, and they certainly weren’t exceeded. The perfunctory plot could have been scribbled on the back of a beer-mat with room to spare, and the film’s denouement is utterly predictable, yet still manages to disappoint. 
Michael B. Jordan is a passable actor, and he directs with similarly undistinguished professionalism. The film is resolutely untainted by anything resembling imagination or inspiration. Its commitment towards mediocrity is reassuringly consistent. 
It would hardly be giving the game away to mention that Jordan’s Adonis Creed is lured back into the ring to take on Jonathan Majors’ ‘Diamond Dame’ Anderson, an old friend whose path had taken a less fortunate turn, and the news that Jordan is hugely outmatched, in the acting department at least, by rising star Majors is even less surprising. 
That’s two distinctly average films I’ve seen Majors star in over the last couple of months - ‘Ant-Man Quantumania’ and this - and he has absolutely dominated both films, pulverising all comers: the quietly spoken ‘Diamond Dame’ exudes an understated street menace that is reminiscent of a young Mike Tyson. Majors will surely go on to much greater things, but it’s time he left franchise fodder behind. 

#27 A Wounded Fawn (Travis Stevens, 2022) Shudder via Amazon Prime 6
This serial killer tale starts off rather well, with an excellent performance from Sarah Lind as the imperilled but powerful female protagonist, but it devolves in the second half into incomprehensible mythological mumbo jumbo. It reminded me of Lars von Trier’s ‘The House that Jack Built’, though that film’s allegorical intent was clear from the start. ‘A Wounded Fawn’’s first half is superior to von Trier’s film, building up the tension and the unsettling atmosphere nicely, but like a lot of modern horror films, the tonal shift halfway through is so sudden as to be jarring, as the film veers from effectively creepy horror into heavy-handed message movie, with derivative surrealist flourishes.

#28 Chameleon Street (Wendell B. Harris Jr.) Criterion Channel 9 
There can’t have been too many instances of outstanding debut films that turned out to be the only features their directors ever completed. Charles Laughton’s ‘Night of the Hunter’ is perhaps the most celebrated work of the ‘one and done’ directorial school, but Wendell B.Harris Jr.’s remarkable Sundance Grand Jury Prize-winner (1989) ‘Chameleon Street’ remains one of the more obscure examples. 
Director Harris Jr. plays the lead role, a confident and articulate con-man, whose intelligence and charm enable him to infiltrate (inter alia) the legal and medical worlds, passing himself off as a skilled practitioner of these professions. 
As implausible as it might seem, the film is based on a true story, the life of William Douglas Street, Jr., nicknamed ‘the Chameleon’, who allegedly performed a number of operations at a Chicago hospital while masquerading as a surgeon. 
Harris, Jr. is not only a talented director, but as an actor is perfect for the role, exuding confidence, savoir faire and intelligence. His elegantly cultured demeanour rarely cracks, even when under pressure (his eloquent takedown of a racist redneck who harasses his wife in a restaurant is particularly memorable), and it’s entirely believable that his colleagues were fooled by his confident professional manner. 
The film is expertly edited, the script (penned by Harris) is sharp and witty, and it’s a hugely enjoyable film. 
‘Chameleon Street’ definitely deserves to join the pantheon of great, under-appreciated works by African-American filmmakers of the period, such as Charles Burnett’s ‘To Sleep With Anger’ and Kasi Lemmons’ ‘Eve’s Bayou’. 
It’s an indictment of the American film industry, and the lack of opportunities afforded to black filmmakers, that such a vibrant creative force as Wendell Harris Jr. never made another film.

#29 My Architect: A Son’s Journey (Nathaniel Kahn, 2003) Criterion Channel 9
This fascinating documentary profile of unconventional architect Louis Kahn is stuffed with colourful stories and memorable characters, such as Philadelphia urban planner Edmund Bacon, (father of the actor Kevin Bacon) who butted heads with Kahn repeatedly in the late ‘40s and early ‘50s over plans for redevelopment of the city, and who plays up to his reputation as Kahn’s nemesis in a surprisingly outspoken interview, saying that it would have been ‘an incredible tragedy if they (the city) had built one single thing that Lou had proposed for downtown Philadelphia’. 
Despite designing a number of world class buildings, it seems Kahn barely scraped a living as an architect, and he apparently died penniless, collapsing from a heart attack in Penn Station, New York, with his body going unclaimed for days. He seems to have been an enigma, even to his ‘closest’ friends and family, and it’s both disorientating and sad to hear family members and acquaintances lambast the world-renowned architect of the Salk Institute, Kimbell Art Museum and Bangladesh’s iconic national parliament building, the Jatiya Sangsad Bhaban, for never amounting to very much. 
Kahn certainly led an unconventional life - a fairly unprepossessing (though presumably charming) fellow who juggled relationships with three women, all of whom bore him a child. 
The director of the documentary, Nathaniel Kahn, is one of the architect’s offspring, and he obviously embarked upon the project in an attempt to get to know the man who ghosted in and out of his childhood. I’m not sure he learned very much, as few of the interviewees could cast very much light on a man they hardly knew, let alone understood, but it’s a fascinating journey nonetheless. The most effusive tributes, by far, come from Bangladesh, where Kahn is clearly revered, even if he was a prophet without much honour at home.

#30 Knock at the Cabin (M. Night Shyamalan, 2023) Amazon Prime 5
I’m continuing to work my way through M. Night Shyamalan’s filmography, more in hope than expectation. I should have given up long ago, as none of his later works have come close to matching his beautifully-constructed debut, ‘The Sixth Sense’. I’ve been enjoying his Disney+ show ‘Servant’, a slow burn series which has the stately assurance of his debut feature, and is (largely) shorn of the director’s trademark contrivances. Unfortunately, ‘Knock at the Cabin’ is nowhere near as good. Unlike most of Shyamalan’s work, there is no rug-pulling magic trick here, where the director throws in an enormous twist that suddenly reconfigures everything we’ve seen to date. ‘Knock at the Cabin’ is Shyamalan working in reverse - it starts off by stretching our credulity, assuming we’ll swallow a barely believable scenario, then just plays it very straight, and humourlessly, all the way towards its dull conclusion. 

#31 Holy Spider (Ali Abassi, 2023) Mubi 9
‘Holy Spider’ is a gritty and deeply unsettling film in which a woman journalist (Arezoo Rahimi, brilliantly played by Zahra Amir Ebrahimi) investigates a series of murders in the Iranian holy city of Mashhad. Like David Fincher’s serial killer procedural ‘Zodiac’, it’s based on a true story, but ‘Holy Spider’ has another dimension: as a woman driving the investigation, Rahimi meets with resistance and misogynistic treatment from local police and religious fundamentalists alike, with Iran’s deeply patriarchal society not only frowning upon ambitious independent women like Rahimi, but seemingly indifferent to the fates of its less fortunate (and even more marginalised) women. The indulgence, and in some cases outright celebration, of the serial killer’s professed motivation to ‘cleanse the holy city of moral corruption’ rings frighteningly true, and the film’s coda (which I won’t spoil) is one of the most disturbing conclusions to a film that I’ve ever seen.

#32 Antiviral (Brandon Cronenberg, 2012) Amazon Prime 6
Having been hugely impressed by ‘Possessor’ (and with ‘Infinity Pool’ on this month’s viewing list), I thought it was worth catching up with Brandon Cronenberg’s debut film ‘Antiviral’, even if the reviews were less than effusive. On balance, it’s my least favourite of his films to date, and by far the most indebted to his father. It’s highly imitative of the films David Cronenberg made early in his career, fusing the austerity of ‘Stereo’ with the body horror of ‘Rabid’ and ‘Shivers.’ The main issue I had with the film, is that that I just couldn’t buy into the central conceit -

Spoiler

that in the near future celebrity obsessed fans will want to be injected with (genetically engineered non-transmissible variants of) viruses harvested from their idols’ infected blood.

If you suspend disbelief sufficiently to accept the ludicrous premise, it’s a competently-made, if rather cold, sci-fi horror film.

#33 Coup de Torchon (Bertrand Tavernier, 1981) Criterion Channel 6
An adaption of Jim Thompson’s 1964 crime novel ‘Pop. 1280’, with director Bertrand Tavernier relocating the story from the southern states of America to French West Africa. It’s the tale of an ineffectual police chief (played by Philippe Noiret) in a small town who takes revenge against his tormentors. Sadly, ‘Coup de Torchon’ hasn’t dated very well, and the casual racism displayed by the white settlers in their dealings with the indigenous population is shocking to modern sensibilities, though it may well have been an accurate reflection of French colonial attitudes of the era in which the film was set (just before the outbreak of the Second World War). 
The film’s whimsical tone sits rather uncomfortably with the dark subject matter, but Thompson’s tale was clearly conceived as a noir, rather than a comedy. Noiret and Isabelle Huppert are both rather good in this, but it’s not one of Tavernier’s better films.

#34 Beyond Time (Alex Turnbull & Pete Stern, 2012) Vimeo 8
Fascinating documentary about Dundee-born modernist sculptor and painter William Turnbull, an artist who has never quite permeated the public consciousness to quite the same extent as his Scottish contemporary, and fellow founder of the Independent Group, Eduardo Paolozzi. Turnbull was inspired by his time in Paris in the late ‘40s, a city to which he’d relocated after serving as an RAF pilot during the Second World War, and his work was certainly influenced by both Alberto Giacometti and Constantin Brâncuși, leading lights of the Parisian post-war artistic community. Turnbull is clearly held in very high regard by his peers, and Anthony Gormley, Peter Blake, Richard Hamilton, Tess Jaray, Tim Marlow et al. attest to his talents not only as a modernist, but as an artist whose work exhibits a timeless quality, drawing upon influences from the ancient past, while looking towards the future. 
Footnote: Turnbull married Singaporean sculptor Kim Lim in 1960, and their two sons, Alex and Johnny, founded one of my favourite bands - the highly influential post-punk / industrial group 23 Skidoo. Alex co-directed the documentary, and the band supplied the soundtrack.

#35 Infinity Pool (Brandon Cronenberg, 2023) Vue Cinema, Ocean Terminal 7
Having really enjoyed Brandon Cronenberg’s sophomore work ‘Possessor’, I was really looking forward to this. If his debut ‘Antiviral’ was heavily influenced by his illustrious director father, ‘Possessor’ saw him investing Cronenberg Sr.’s body horror and sci-fi tropes with a modern technological sheen, fusing visceral horror and speculative ‘science’ to disorientating effect. ‘Infinity Pool’ certainly reinforces Brandon Cronenberg reputation as the enfant terrible of the horror genre, but, for my money at least, it’s a step backwards. 
Ultimately, for all its hip Ballardian sheen, it’s yet another in a wearyingly long line of heavy-handed satires of the rich - certainly more transgressive than ‘Triangle of Sadness’ or ‘The Menu’, and almost as crude.
Mia Goth’s remarkable temptress Gabi aside, Cronenberg’s wealthy deviant elite is populated by disappointingly one- dimensional caricatures, and the film’s catalogue of grotesqueries is clearly compiled to appeal to the prejudices of the lowest common denominator. This pool isn’t so much infinite as shallow. 

Spoiler

Cronenberg was presumably hoping to eviscerate the privileged a la Pasolini’s ‘Salo’, but ‘Infinity Pool’ plays more like ‘Eli Roth does arthouse’: a ‘Hostel’-style holiday in other people’s misery, as exploitative rich tourists are given carte blanche to indulge their worst excesses in a fictional foreign county (Li Tolqa), which is afflicted by a combination of crushing poverty and a quasi-medieval system of retributive justice, but is, curiously, capable of devising sophisticated (though confusingly lo-fi) human cloning technology. Li Tolqa’s ‘create-a-clone’ witchcraft works in ways so mysterious that the audience is conveniently spared the detail: all we learn is that it involves a shower cap, a perverse orthodontic device, and a lot of goo. 
A generous donation to the corrupt local police force, and the implausible creation of a sacrificial clone later, and the filthy rich hedonists are set loose to continue their increasingly perverse depredations upon the local population.

I’ll give Cronenberg this: never has such a crude metaphor been quite so baroquely rendered, or such a trite message been delivered in such artful packaging. 
On the credit side, Mia Goth excels as the unhinged libertine Gabi Bauer, comfortably consolidating her position as the preeminent acting talent operating in the contemporary horror genre.
At times, ‘Infinity Pool’ reminded me of Harmony Korine’s wonderfully deranged ‘Spring Breakers’, and the film is peppered with scenes of kaleidoscopic psychedelica reminiscent of Panos Cosmatos’ ‘Beyond the Black Rainbow’ and ‘Mandy’, though, for my money, it’s not quite the equal of any of those. 
Even if ‘Infinity Pool’ is, ultimately, a disappointingly derivative sub-Ballardian satire, Cronenberg’s filmmaking talent seeps out of every scene, and the unsettling boldness of his vision ensures that I look forward to his next project. He should rein in any incipient crowd-pleasing tendencies though, as it felt like he was playing to the gallery here, an accusation that could never have been levelled at the defiantly uncompromising ‘Possessor’. 

#36 Only the Animals (Dominik Moll, 2019) Mubi 9
This is the first film I’ve seen from highly-regarded French director Dominik Moll, and I was impressed. ‘Only the Animals’ is a labyrinthine mystery in which the complex web of coincidences that lead to a seemingly motiveless murder is explored from the viewpoints of six very different individuals, some of whom seem barely connected, and all of whom possess a restricted view of the bigger picture. It’s a pessimistic meditation on the evil that springs from human weakness, and it’s fascinating to watch the film’s assortment of flawed characters try to make sense of a seemingly incomprehensible series of events, as the story is painstakingly reassembled from the perspectives of all six in turn. 
It’s a wonderful puzzle box of a movie, beautifully constructed in a manner reminiscent of Akira Kurosawa’s ‘Rashomon’ (the ‘Knives Out’ films might be another reference point, but thankfully this beautifully dark and rather sad film has none of that particular franchise’s ‘Hollywood celebs hamming it up on vacation’ vibe) and while the pieces slide into place rather too neatly in the end, and the long arm of coincidence isn’t so much stretched beyond credulity as ripped out of its socket, this brilliantly-directed film will certainly motivate me to check out the rest of Moll’s filmography.

Edited April 2, 2023 by Frankie S

[coprolite]

9 hours ago, Frankie S said:

This is the first film in the ‘Rocky’ franchise that I’ve seen, and likely to be the last. 

[MSU]

081 The Lost King -- Sally Hawkins plays a version of the mum out of Paddington who has a nervous breakdown and obsesses over the final resting place of Richard III. The movie takes some creative liberties with Phillipa Langley's story but most of the bits I thought couldn't possibly be true were bang on the money. Steve Coogan stars as Phillipa's ex-husband and also wrote the pretty tight script that has a good few laughs and does its best to generate some tension from a well-known tale. If anything, it's the ghost of Richard III appearing to Phillipa that did the least for me. All in all, it's a perfectly fine way to spend a couple of hours and serves as a decent reminder, if needed, that some dickhead men will do anything to stop a woman get some credit for something. 6/10

082 GoldenEye -- As a guy who was brought up with Connery and Moore, I'm needing to adjust my opinion somewhat about these new kids on the block because so far, I haven't been disappointed. As usual, those pesky Ruskies have been up to no good and they've got their mitts on a satellite system capable of destroying the universe or something. Along for the ride are Sean Bean, Robbie Coltrane, Alan Cumming, and Izabella Scorupco. It's fast, frenetic, and has Bond in a tank rolling through St Petersburg, complete with classic tie adjustment. Much like Licence to Kill, it hits the buttons that I would expect to see in a Bond movie and it hits them really well. 7/10

083 About Last Night (#9 in the Brat Packs series) -- The main challenge of this movie is trying to decide which character to hate the most. I'm kidding, it's obviously Jim Belushi's Bernie. Other than that, it's just another couple of hours of being astounded that Rob Lowe managed to pay his bills through the 80s because nothing he says is remotely believable. Two dull people with no chemistry hook up and end up having a relationship developed during a montage and their friends disapprove and then the movie ends. It's not the worst Brat Pack movie so far, but being better than Blue City is no reason for it to get carried away. 4/10

 

[Mark Connolly]

2 hours ago, MSU said:

082 GoldenEye -- As a guy who was brought up with Connery and Moore, I'm needing to adjust my opinion somewhat about these new kids on the block because so far, I haven't been disappointed. 

Although he was absolutely suited to the style of the films he was in, Moore was the worst Bond for me. More about the way Bond was written at the time than about him though.

[MSU]

1 minute ago, Mark Connolly said:

Although he was absolutely suited to the style of the films he was in, Moore was the worst Bond for me. More about the way Bond was written at the time than about him though.

Agree 100%. The Spy Who Loved Me gets pass marks but mostly when compared to other Moore efforts. The parody tone of the others, the writing, Moore's age at the time, none of them do much apart from sparking nostalgic thoughts of Christmases as a bairn.

[pozbaird]

Watched ‘Diamonds Are Forever’ again recently. Still quite astounding how they cocked up so much and seemingly got away with it. After Plenty ‘O Toole gets chucked into the pool, never to be seen again you’d think, she turns up wearing concrete boots in Tiffany Case’s pool. Why? There was nothing to suggest why. They cut out an entire scene whereby she had survived being thrown into the hotel pool by the Slumber Inc heavies, returned to the room, saw Bond and Case getting it on, and, well, whatever, it’s James Bond… the other belter is filming the car on two wheels down the alley, realising they filmed it exiting on its other two wheels, and just inserted a studio shot of the car somehow flipping from one side to the other. The moon buggy chase - wheels falling off the moon buggy and bouncing past clearly in shot - it simply carries on with all its wheels. No-one thought ‘ach fcuk, CUT!’. Finally, can anyone explain what the fcuk the character Shady Tree had to do with anything?

Aye, different days.  Still love that movie no matter what.

Edited April 3, 2023 by pozbaird

[stevieKTID]

1 hour ago, pozbaird said:

Watched ‘Diamonds Are Forever’ again recently. Still quite astounding how they cocked up so much and seemingly got away with it. After Plenty ‘O Toole gets chucked into the pool, never to be seen again you’d think, she turns up wearing concrete boots in Tiffany Case’s pool. Why? There was nothing to suggest why. They cut out an entire scene whereby she had survived being thrown into the hotel pool by the Slumber Inc heavies, returned to the room, saw Bond and Case getting it on, and, well, whatever, it’s James Bond… the other belter is filming the car on two wheels down the alley, realising they filmed it exiting on its other two wheels, and just inserted a studio shot of the car somehow flipping from one side to the other. The moon buggy chase - wheels falling off the moon buggy and bouncing past clearly in shot - it simply carries on with all its wheels. No-one thought ‘ach fcuk, CUT!’. Finally, can anyone explain what the fcuk the character Shady Tree had to do with anything?

Aye, different days.  Still love that movie no matter what.

I cycle past the Tiffany Case house almost everyday 

[MONKMAN]

The Whale.  What a tragically beautiful film, Brendan Fraser was superb. 

[BFTD]

John Wick 4 (cinema) - Keanu Reeves shoots many, many people.

I saw the first one when it was new out and liked it, but haven't seen the others. The wean actually asked if he could spend time with me and go to see this one, so I couldn't really say no. I don't think I missed too much in the interim, as it's really just Keanu and his mates murdering hundreds of mooks, so there wasn't much to be confused by.

I really enjoyed it. Very stylish and moody; tremendously artistic ballet of violence, with some nice humorous moments and a terrific cast playing some memorable characters. I really like the stuttery movement they've worked on during the fights, as it helps disguise the choreographed nature and makes the whole thing seem a little more feasible (and the fight scenes are just utterly ridiculous in scale). There's a few bits of shonky CG, but it's not the kind of film where that spoils your enjoyment. Most surprisingly, it didn't feel overlong at just under three hours, which is pretty impressive for a film where action is more important than dialogue. Nice score too.

The wean mentioned afterwards that a couple of scenes reminded him of video games (namely Cyberpunk 2077 and Hotline Miami), and I'd been thinking the exact same thing. Not a criticism - it's just the kind of film where taking kinetic inspiration from action games can work out really well.

[54_and_counting]

On 03/04/2023 at 16:46, Mark Connolly said:

Although he was absolutely suited to the style of the films he was in, Moore was the worst Bond for me. More about the way Bond was written at the time than about him though.

Brosnan was the perfect blend of moore and connery, thought he was an excellent Bond, plus as you say the films he was in helped that

[BFTD]

2 hours ago, 54_and_counting said:

Brosnan was the perfect blend of moore and connery, thought he was an excellent Bond, plus as you say the films he was in helped that

Brosnan's films were generally pretty poor IMO. Goldeneye is obviously a classic, but Tomorrow Never Dies was very mediocre and The World is Not Enough was pretty dire. I actually liked Die Another Day, probably because I appreciate unintentionally bad films, but it regularly ends up at the bottom of Bond film lists.

He was quite unlucky in the films they wrote for him, as he was perfect for the role.

[scottsdad]

Off to see the new Dungeons and Dragons tonight. Hoping it'll be good.

[54_and_counting]

2 hours ago, BTFD said:

Brosnan's films were generally pretty poor IMO. Goldeneye is obviously a classic, but Tomorrow Never Dies was very mediocre and The World is Not Enough was pretty dire. I actually liked Die Another Day, probably because I appreciate unintentionally bad films, but it regularly ends up at the bottom of Bond film lists.

He was quite unlucky in the films they wrote for him, as he was perfect for the role.

Quite liked tomorrow never dies lol, but they quickly went poor after that, but i liked brosnan overall, think the faster paced and heavier action suited him, plus he still had the looks to pull off the charming agent vibe

[ScotiaNostra]

Villian 2020 - Everything about this movie suggests it wont be any good. Low budget, a played out gangster storyline and setting, Craig Fairbass as the lead but somehow it manages to be ok. Some decent cinema topography, a good music score and some good acting even from Fairbass and some of the other characters especially the actress playing his daughter who was really excellent. It also contains one of the most explosive realistic scene of violence Ive seen in movies. It lacks depth and some of the characters would be better served with some more storyline. It has plenty moments where its verging on the farcical but just does enough to keep you watching. 

5/10

Edited April 5, 2023 by ScotiaNostra