What Was The Last Movie You Watched?

[BFTD]

18 hours ago, Miguel Sanchez said:

They're not zombies in 28 Days Later, they're infected.

Miguel, is your point that 28 Days Later didn't kick off the Aughts' zombie boom because the script says they're living people incurably infected with a "rage virus", rather than reanimated corpses?

Or, as I suspect, are you trying to wind me up by reanimating a specious argument from twenty years ago, you naughty toerag?

[MSU]

23 minutes ago, Arch Stanton said:

I see.

https://en.wikipedia.org/wiki/List_of_A24_films

I've actually seen quite a few of the 2010 list (Enemy, Under the Skin, The Lobster, KoaSD, Disaster Artist, Room,  Moonlight, Hereditary) without making the connection between them.

Aye, you'll have seen plenty. I think I began to take notice when something like three or four of the trailers I saw one time all had the A24 logo. More recently, they tend to be movies I enjoy although through doing this I've sat through a fair few honking efforts.

[Miguel Sanchez]

5 minutes ago, BFTD said:

Miguel, is your point that 28 Days Later didn't kick off the Aughts' zombie boom because the script says they're living people incurably infected with a "rage virus", rather than reanimated corpses?

Or, as I suspect, are you trying to wind me up by reanimating a specious argument from twenty years ago, you naughty toerag?

I just like correcting people when they say things that are factually incorrect.

[BFTD]

12 minutes ago, Miguel Sanchez said:

I just like correcting people when they say things that are factually incorrect.

I never said that the people in 28 Days Later were zombies though.

It is, however, a zombie movie, as is The Crazies, despite neither technically featuring zombies. So is I Am Legend, for that matter.

[Paul Kersey]

Nighthawks

Gritty 1981 crime  thriller starring Sly Stallone as a tough New York cop on the trail of a master terrorist. 

There's a lot of the usual New York stuff like graffiti strewn alleyways and subway trains.

A very good film that seems to be largely forgotten these days. 

8/10

[Stellaboz]

Downton Abbey 2.

9/10

 

Heart breaking, hilarious, thought provoking, thrilling, sad, brilliant. Loved every moment of this. The cast is so good and the cameo of the boy who plays Neil's dad in the Inbetweeners was class.

[Twinkle]

Last Seen Alive 

 

New Gerard Butler film where his wife goes missing. Pretty duff film to be honest, all been done before and better

[accies1874]

89. Men (2022)* - Cinema

Was buzzing for this, perhaps more than any other film I’ve seen this year. Alex Garland has a 100% hit rate as a director and bumpkin British horror is an enjoyable sub-genre. The trailer's also played before pretty much every cinema trip for a month or two.

Firstly, it’s got a class opening shot to draw you right in: a woman with a bloodied nose watching someone she knows fall past her window. Hooked. The simple, maybe on the nose, idea of having that apartment constantly lit orange/red worked for me too, as it made those flashbacks feel like she was always having to go back into hell whenever the incident came into her mind. The look of the rest of the film was weird; really, really crisp, particularly outdoors, which I’ve found a bit strange since I saw the trailer for the first time, and I’m guessing there's a reason but couldn't say for sure. The shimmer in Annihilation was quite similar IIRC. 

You really notice it in that forest scene which is brilliantly constructed: it establishes the forest’s emptiness, the tunnel's silent except her singing, one angle has the tunnel entrance behind her framed in a way that obscures what’s there while leaving enough space to think something’s approaching, while the angle behind her is standing there watching. It was actually fun seeing that play out so well.

So you’ve got that scene which is great, then two or three more scenes after, then it’s the final act. It felt weird structurally to me, like there wasn’t a building sense of eeriness and they were all quite isolated before the ending madness which I found pretty jarring. The supporting characters were hopelessly undrawn-out, with the possible exception of Geoffrey, although I like @MSU's idea of them all representing different kinds of misogynistic tendencies. On that note, because I’m a fucking idiot, I was initially impressed that they managed to find so many actors who looked like one another. The different tweaks to each of them were subtle enough, tbf, except the CGI boy who brought me out of it every time. It was as if his movements were exaggerated because they were scared of him looking too wooden.

We got sprinklings of how great this could’ve been if they actually utilised the sense of place better rather than the setting feeling disjointed, plus some of the horror was an unsettling blend of abstract and reality, mixing a whole load of different horror genres quite effectively.

The final act…

When I saw others on here and elsewhere talk about, I was a bit concerned that we’d get something like Us or The World’s End where there’s some underground bunker farting out Men to terrorise this town, bogging down a climax with people standing talking. Thankfully that wasn’t the case as I always prefer when a film just rolls with the weirdness, but this was trying too hard imo. What starts as a pretty lacklustre home invasion ends in a metaphor that went on too long and was hoping to be so wacky that people wouldn’t realise that its social commentary wasn’t particularly interesting.

Hopefully this film has now made my car iconic.

Edited June 8, 2022 by accies1874

[MSU]

3 hours ago, accies1874 said:

You really notice it in that forest scene which is brilliantly constructed: it establishes the forest’s emptiness, the tunnel's silent except her singing, one angle has the tunnel entrance behind her framed in a way that obscures what’s there while leaving enough space to think something’s approaching, while the angle behind her is standing there watching. It was actually fun seeing that play out so well.

Enjoyed your comments on this overall, but I totally agree with you on that tunnel scene. That shot where you just have the blackness of the tunnel and the light against Harper's back managed to be incredibly claustrophobic, terrifying, and oddly beautiful as you watched it slowly construct itself as the camera pulled in. It's also, I think, pretty much the only scene where she's truly happy. And she's not happy for long.

[The Naitch]

On 28/03/2015 at 22:39, The Naitch said:

Just watched Pride for the first time since seeing it in the cinema last year.

Gave it 8/10 on first viewing but it gets better on the second showing.

They absolutely nailed it. Kept the spirit of the true story it was based on and it's just glorious from start to finish. 9/10.

Must have watched this film a dozen times since this post including tonight. Brings me to tears, of joy, every time.

It's on Disney+ for anyone who still hasn't seen it.

[J_Stewart]

Is Road House the stupidest and most entertaining film ever made?

Yes, of course it is. An incredible motion picture.

[Paul Kersey]

Tucker: The Man And His Dream

Period drama based upon a true story starring Jeff Bridges as a car designer who tries to take on the Detroit motor industry.

Set in the 1940s, this looks Excellent with a lot if period detail. Bridges is great, as usual, as the beleaguered central character.

A great film that seems to have slipped under the radar.

8/10

[DeeTillEhDeh]

Matrix Resurrections.

I won't give this a rating as I switched off after 45 minutes. It was absolutely turgid shite that disappeared up its own arse.

[BFTD]

2 hours ago, DeeTillEhDeh said:

Matrix Resurrections.

I won't give this a rating as I switched off after 45 minutes. It was absolutely turgid shite that disappeared up its own arse.

Expecting anything else would be like watching Hostel 4 and being shocked by the tits and gore.

[MSU]

068 -- The Adderall Diaries (#33 in the A24 series) I’m not saying that James Franco doesn’t know how to make a good movie. I’m just saying every James Franco movie I’ve ever seen has been terrible. This is a particularly bad example. I feel sorry for the real Stephen Elliott, partly because of all the crappy things that happened to him, but mostly because James Franco plays him in his movie. 2/10

069 -- The Lobster (#34 in the A24 series) The Lobster is one of those comedy movies that does its best to pretend it's not a comedy, so by the time you twig that, yes, it's meant to be funny, you feel like starting it all over again. In an alternate universe, single people are thrown together in a hotel and given a short period of time to find a partner or they will be turned into an animal of their choice and then released into the wild. This outlandish premise is then presented in the most downbeat, blunt manner imaginable, like the actors didn't really read the script or were doing so for the first time. But gradually, the movie's secrets become more obvious. There's no sense of love here, or even companionship, just the barest of a connection. You've got a limp? I've got a limp, too. Let's hook up. What this says about the way society feels about single people is quite stark. If you're single, you need to be fixed, and if you can't be fixed or don't want to be fixed, well, you're going to have to find someplace else to hang out. Colin Farrell is the lead singleton. Ashley Jensen is her usual wonderful self as the weird biscuit lady. You're really going to need to be in the mood for this one because a lot of it is going to be pretty annoying if you're not. 7/10

070 -- De Palma (#35 in the A24 series) If you like Brian De Palma, you're going to love this. Body Double was one of my guilty pleasures as a kid (for obvious reasons). In this conversation with the director, he goes through his filmography in chronological order, talking about inspiration, and technique, and sprinkles in a few anecdotes about things like Sean Penn being a dick to Michael J Fox on the set of Casualties of War, and although Alfred Hitchcock does get mentioned a lot, it's not nearly as often as you'd imagine. 6/10

071 -- Crimes of the Future. Kristen Stewart's acting and Viggo Mortensen's skeletal breakfast high-chair are the unintentionally hilarious highlights of David Cronenberg's first feature film in 8 years. In an unspecific future, pain and infection are things of the past so it's a natural leap if you're David Cronenberg to deduce that this means that conscious surgeries are commonplace and even pass for performance art. This is where Mortensen's Saul Tenser comes in. Thanks to a genetic quirk, he is in constant pain and has to sleep in a special, almost organic bed that gives him comfort, and eat from the aforementioned high-chair. Also, because David Cronenberg, he's developing new vestigial organs in his body that his partner Caprice, played by Léa Seydoux, extracts and tattoos as part of a theatrical performance. Cronenberg's shtick is no longer shocking or provocative anymore. I found the final act of Men far more unsettling and uncomfortable to watch. It is, however, really boring. 4/10

[accies1874]

I've never really felt compelled to go through Cronenberg's stuff but I seem to remember quite liking Maps to the Stars. I didn't realise Crimes of the Future is his first since then.

[velo army]

On 13/06/2022 at 00:27, BFTD said:

Expecting anything else would be like watching Hostel 4,  and being shocked by the tits and gore.

Dr Seuss movie reviews for this pish.

[Detournement]

On 13/06/2022 at 16:39, accies1874 said:

I've never really felt compelled to go through Cronenberg's stuff but I seem to remember quite liking Maps to the Stars. I didn't realise Crimes of the Future is his first since then.

Dead Ringers is the best imo.

MSU is dozens of shite movies away from getting to watch First Reformed. Poor b*****d.

 

[BFTD]

4 minutes ago, Detournement said:

Dead Ringers is the best imo.

[Steve_Wilkos]

Lethal Weapon - 9/10