What was the last film you watched?

[Spells & Karma]

I guess maybe the ending of this last one being left so “up in the air” is what appealed to me.

I do applaud them for taking a cliffhanger route, which isn't seen a great deal in films these days, since serialisation is the domain of television. For me, I think they didn't go hard enough with it. If they're going to leave it up in the air, I want to be obsessed with the ending in the same way I used to be season finales of my favourite series. I want it to shock or stun me. At the very least, I want it to resonate so that I find myself wondering what happens next, but that hasn't happened yet and I suspect it's not going to as the film already begins to fade in my memory.

Because of the genre and the fact that it's a Marvel character, it's difficult not to compare it with the ending of Infinity War, which sets the bar insurmountably high. As an event, no superhero film is going to come anywhere close to that anytime soon.

Definitely a much different kind of Spider-Man saga than anything else we’ve seen though. I’m still not even sure what to make of these first two movies to be honest. I know I enjoyed them, yet I keep asking myself why if that makes any sense.

I know what you mean. On paper, it's not the kind of Spider-Man film I'd want to watch. Despite the superheroics, powers and colourful villains, the Spidey I love is the friendly neighbourhood Spider-Man, and I usually find alternative realities and massive unexpected team-ups a bit of a turn-off.

I think it worked for me because there was still enough of the small stuff in there to make it feel authentic. Miles being grounded or being late for his father's speech is pure Spider-Man. And all the cameos and other Spider-Men and Women were lovingly done, with every one an Easter egg to fans. I'll definitely be back for the last one in due course to see how it wraps up.

 

[Crimson]

On paper, it's not the kind of Spider-Man film I'd want to watch. Despite the superheroics, powers and colourful villains, the Spidey I love is the friendly neighbourhood Spider-Man, and I usually find alternative realities and massive unexpected team-ups a bit of a turn-off.

I agree with this. Tom Holland is my favorite of the live action Spider-Mans but his version has been too wrapped up in international, interplanetary, or interdimensional stories. At this point, I'd rather just see him stopping a bank robbery.

 

[Werewillie Oleson]

DEATH WISH (1974)



Found this in an online list of Underrated or Forgotten Gems and apparently it's also considered a cult classic.
I know that "cult classic" doesn't say anything about the quality of the film but they usually have something...something...well, something.

After I had ploughed through the 93 minutes of this film (which felt like 4 hours) I returned to Mother Internet to find out what it was that made this film a cult hit.
No explanations are given but I did learn that Death Wish was originally to be directed by Sidney Lumet, starring Jack Lemmon and Henry Fonda - and then it's easy to imagine what this film could have been.
And perhaps we did get that film in 1993, with Michael Douglas starring in FALLING DOWN.

The problem with the casting in Death Wish is that they want me to forget that Charles Bronson is Charles Bronson, only for a meagrest of meagre plotline allowing Charles Bronson to become Charles Bronson. Except that that also doesn't happen.
So, without the psychological angle that should-have-been, and without the entertaining violence that could-have-been, this film really has nothing to offer.

The dialogue is either bad or badly delivered, by all the actors, but Steven Keats gets the worst parts.
He plays Charles Bronson's son-in-law and he calls Charles Bronson "dad" in almost every line he speaks. I found it massively cringey.

In order to get the point across we see attempted robbery on Charles Bronson's character four times, and always in a seemingly desolated New York but it's a story so don't mind some contrivances if it advances the plot.
There is nothing authentic about any of these muggers or the way they orchestrate their muggery, but since they occasionally do point a gun at Charles Bronson and he just happens to shoot first it kinda looks like self-defence instead of vigilantism.
Maybe I'm supposed to understand that he's posing as an easy target in order to attract muggers in order to kill them (would I consider Charles Bronson an easy target? hm....) and that he can always choose a moment when no other New Yorker is in sight, but this character's state of mind is too blank to read anything into it.

Then the cops find out who's behind the killings of these criminal people - let's try a bit of ZODIAC - and they want him to get away/not get away with it because...it helped...or shouldn't....something.
The chase makes no sense whatsoever and when someone requires information it's usually "not much".
"Not much" can also mean that they know every detail but the film's suspense requires that they won't reveal that information immediately.
What time is it?
-Not much.

Death Wish (and it takes a lot of imagination to figure out how the title applies to this film) fails in every single aspect. It isn't even entertainingly awful therefore it puzzles me why this is considered a Cult Classic.
What do you think?









Not much.

 

[DallasFanForever]

The Iron Claw (2023)

As an admitted fan of professional wrestling growing up I was excited for this one. I had really low expectations going in though. After all, it’s such a tragic story and probably not the kind of movie you want to watch on Christmas Eve. The rave reviews have surprised me considering movies like this usually don’t do very well with the critics.

I already knew the story of the famed Von Erich family. Five of six sons dying before the age of 33 cannot make for a happy ending, especially when three of those deaths were suicides. Nonetheless, it is an amazing story to watch as it unfolds, or perhaps unravels is the better word unfortunately.

This movie was very frustrating to watch. I found myself wanting to scream at the screen many times, wishing these young men would just get away from their overbearing father and seek some much needed help. But unfortunately mental health awareness wasn’t as prominent back then as it is now. This movie is terrific. Quite frankly I’d even see it again. There is definitely a lesson to be learned from it, but leaving a theatre in tears on Christmas Eve sure isn’t fun.

 

[Spells & Karma]

The Great Escaper (2023)

Most notable for being the last film performances of Glenda Jackson and (so we're told, at least) Michael Caine. And it's a most worthy curtain call. Both are wonderful in this film.

The retirement home where the characters live feels like a real community or extended family, and staff and residents with smaller roles are nicely cast (how surprising to see that one of them was Karen Carpenter tribute act Jackie Clune) Even with so little material it feels we already know them.

The story itself rings bells, so I probably read about the real-life events when it happened a decade ago. It's beautifully told here: funny and heartbreaking. I found the love more painful than the losses, because of its endurance and fragility. It's a little strange seeing Michael Caine in particular looking so old and frail, but he still shines through in it, and the chemistry between the two is very believable. It's easy to imagine they've been together for seventy years.

The flashbacks to WWII are the parts where suspension of disbelief was required, since we know what the actors looked like when they were much younger. For someone who hadn't seen them in projects of earlier decades, it would probably have been easier to buy. All the same, it looks as though the actor playing the young Caine had done his homework in terms of mannerisms and speech patterns (the actress playing young Glenda less so. She looked a little like her in one or two long shots but that's where the similarities ended).

John Standing is terrific, and the French adventures with its haunted veterans from various wars is a must see.

All in all it's a beautiful little film that got me in the heart and in the tear ducts.​

 

[Emelee]

I began watching the long version (5h, instead of 3h) of Fanny and Alexander from 1982.
3,5 hours into it, I am glad I chose the long version. I don't know what I would have cut from it if I had to remove almost half the film.

 

[Werewillie Oleson]

LOOKING FOR MR. GOODBAR (1977)



It's one of those notoriously unavailable films (never released on DVD save for a bootleg disguised as an Australian release) but thankfully someone has uploaded a homemade video recording - from Dutch television, of all sources.
It's watchable enough if you simply want to know what the film is all about. I honestly can't say if I've seen it before.

A childhood disease, religion and oppressing family values appear to be the roots for Diane Keaton's character's train wreck lifestyle, although her more beloved sister doesn't seem to do much better.
To me, it also looks like a fight for freedom (there's a little bit of feminist activism going on in the background) but without knowing how to give that freedom purpose, and in that regard she's not very different from Tony, played by Richard Gere.
I found it wickedly funny sometimes but I struggled to think of Diane Keaton as the loser type who actually had to make an effort to pick men up, even if that changed once she got the hang of it.

The final scene is brutal and I wonder if it was the inspiration for the final scene in Brian De Palma's BLOW OUT.
All in all, I think GOODBAR is a good but flawed film and I wouldn't mind watching it again in better picture quality. I don't know what the bootleg DVD has to offer.

Oh btw, there's a christmas scene in it and therefore it qualifies for our December Watching.

 

[Sea - Boo! - Er]

I went to see Mr Goodbar when it came out, having been impressed by Diane Keaton's performance in Annie Hall. This is quite a different film. I remember it being rather harrowing but not much else about it, other than Tuesday Weld played her sister. I wouldn't mind watching it again after all these years to see what I would make of it now.

 

[Sea - Boo! - Er]

Miracle On 34th Street (1947)
Here's an excellent analysis of the film.

 

[Spells & Karma]

The Mist (2007)

A spontaneous blind watch.

This film did a decent-ish job of keeping the threat off-screen for much of the time and I found myself invested in the first part of the film. This dropped tenfold when the first CGI tentacle appeared. I don't care what tweaks are made to them... tentacles always seem more funny than scary to me. Any time creatures arrived, all tension and horror dissipated, but the times in between featuring the group dynamics - with its tribes, schisms, antagonism and rebellion - was much more watchable. I struggled to believe Marcia Gay Harden's evangelical character would so easily sway and recruit the number of people she did with such ease, but the ensuing lynch mob was genuinely disturbing and felt like a very credible threat.

Incidentally, I spent much of the film thinking Marcia Gay Harden was Christine Estabrook from Desperate Housewives. But I was also distracted by her (MGH's) similarity to Letitia Dean from EastEnders.

Also, I spent much of the film thinking that the lead actor reminded me of Thomas Jane when he (frequently) pouted or flared his nostrils, only to discover in the closing credits that it was Thomas Jane. Viewing him as a blank slate here, I thought there were some scenes where he was excellent - particularly his expressive eyes - and even naturalistic. At times he was positively Shackelfordesque. However, there were other moments when he was comically hammy. The twist at the end of the film reminded me of the twist at the end of 1968's Planet Of The Apes, and this was mainly due to the performance, which echoed that of Charlton Heston.

At over two hours, the film felt stretched too thin and I found myself tuning out during dialogue-free scenes of shocked reactions towards film's end which felt very much like filler. It also couldn't help but feel derivative. Of course The Fog immediately springs to mind, but there are numerous other films and stories that seem to be ripped off here. In particular, the captured people who act as incubators for the creatures felt like an Alien rip-off. And the overall tone of the people isolated with strangers in a supermarket felt similar to any other old post-apocalyptic or natural disaster film. It's pretty much all been done before, and mostly done better.

That's not to say it wasn't entertaining. Expectations were low, and they were met. But only just.​

 

[Spells & Karma]

LOOKING FOR MR. GOODBAR (1977)

This title instantly makes me think of Donna Summer's Try Me, I Know We Can Make It.

While I've never watched it, there was a brief, unsuccessful quest to do so many years ago driven by the fact that I'd read the song (along with Donna's version of Could It Be Magic) was featured in a nightclub scene and I wanted to get some context.

I'd forgotten all about it until your post.

 

[Biggie]

Traffic 200

Traffic was excellent overall, only two eye rolling moments of incredulity. The cast delivered the good and the cinematography deserves to be singled out for further recognition.

Not sure if Steven Soderbergh was trying to show the futility of the "war on drugs" or just wanted to make a flick about man's and that slinging beaucoup weight and that. No matter, works on both levels.

This movie is a Hollywood remake of Traffik from 1989, produced by Channel 4 as a six part miniseries. The lineage is unmistakable with the only big difference being that the movie followed the chang from Mexico to the end user, the TV show followed the smack from the poppy farmer to the end user. The TV show was beyond excellent.

The star of the show... was the star of the show.

 

[9unfold]

I've seen Traffic and Traffik. The movie is good but I enjoyed the TV series more. I think that it's because the TV series had more time to tell a more in-depth story from the various perspectives of the farmer, supplier, user and others.

 

[Werewillie Oleson]

Tuesday Weld played her sister

Before I watched GOODBAR I tried James Caan's THIEF (1981) which also stars Tuesday Weld.
Such an odd coincidence because I hadn't seen her in anything for at least three decades.

only to discover in the closing credits that it was Thomas Jane.

I'm familiar with the experience, but sometimes it gets even trickier when I think someone looks like someone, then decide it actually is the same person only to discover that they're not.

The twist at the end of the film

I am more than a little embarrassed to admit that I didn't immediately understand what was going on. I thought, where do all these people come from? Has the next film already begun?

along with Donna's version of Could It Be Magic

Definitely one of my most overlooked Donna Classics. It's so gorgeous and I think I like it even better as a pop song than as a disco song.

Donna Summer's Try Me, I Know We Can Make It

Even though I've tried many times, I never know what to make of it. It's got such a weird fluctuation in the bassline. Or am I the only one who's hearing it?

 

[Rove]

SALTBURN (2023)

I watched this on the recommendation of a work colleague. All the actors were perfectly cast and it's amazing how with little dialogue they still inject themselves into the story. At times it felt everyone had a hidden agenda especially so at the beginning of Saltburn when Oliver was attending College.

I thoroughly enjoyed this movie but I think how well this could have played as a limited series; offering the actors and characters to truly breathe. Barry Keoghan is perfectly cast as Oliver Quick (what a truly Dickens name) but I wanted a deeper meaning of what was driving him to rip the Catton family apart.

7/10

 

[Angela Chilling]

The Great Escaper (2023)

Most notable for being the last film performances of Glenda Jackson and (so we're told, at least) Michael Caine. And it's a most worthy curtain call. Both are wonderful in this film.

The retirement home where the characters live feels like a real community or extended family, and staff and residents with smaller roles are nicely cast (how surprising to see that one of them was Karen Carpenter tribute act Jackie Clune) Even with so little material it feels we already know them.

The story itself rings bells, so I probably read about the real-life events when it happened a decade ago. It's beautifully told here: funny and heartbreaking. I found the love more painful than the losses, because of its endurance and fragility. It's a little strange seeing Michael Caine in particular looking so old and frail, but he still shines through in it, and the chemistry between the two is very believable. It's easy to imagine they've been together for seventy years.

The flashbacks to WWII are the parts where suspension of disbelief was required, since we know what the actors looked like when they were much younger. For someone who hadn't seen them in projects of earlier decades, it would probably have been easier to buy. All the same, it looks as though the actor playing the young Caine had done his homework in terms of mannerisms and speech patterns (the actress playing young Glenda less so. She looked a little like her in one or two long shots but that's where the similarities ended).

John Standing is terrific, and the French adventures with its haunted veterans from various wars is a must see.

All in all it's a beautiful little film that got me in the heart and in the tear ducts.​

I saw this film a few weeks ago and really liked it. It's a gentle low action film, which isn't unexpected considering the lead was about 90 years old, but it tells an interesting and heart-warming story and is very well made. I'm a big fan of Glenda Jackson and although her role was quite small if was lovely to see her in another film.

The story is currently being made into another film with Pierce Brosnan taking on the Michael Caine role which might also be interesting to watch and compare.

 

[Angela Chilling]

SALTBURN (2023)

View attachment 49920

Story-wise I don't think it's possible to put any spoilers in this review. If you've seen trailers or just the first three minutes of this film then you know what you're going to get.
After I had watched the film I wondered how it compares to the fourth season of Carolyn Kepnes' YOU which also takes place in England's high society.
Predictability can also have a good effect on my viewing experiences as I'm less focused on the "what" and more on the "how".
And the "how" in SALTBURN certainly doesn't disappoint.
Rosamund Pike as matriarch Elspeth Catton's character description of family friend Poor Dear Pamela is priceless. If everything else in this film had failed then at least there's still that.
Pamela herself looks like a Nina Hagen-played-by-Helena Bonham Carter (but played by Carey Mulligan) and this underlines the wealthy and very priviliged family's desire to dabble in faux-bohemianism every now and then.

Oliver Quick is the "invisible" blue-collar classmate of Catton heir Felix and of course it doesn't take long before he worms his way into the world of the quasi-casual yet oh-so-snobby aristocrats.
At the same time it's the aristocrats themselves who think they've found a new exotic thing to play with.
To be fair, it's only at the end of the film that it becomes perfectly clear how calculated Oliver had been. Personally I didn't need to know that because the moments of ambiguity work really well in this story, and it's interesting that the most disturbing scene happens in the home of Oliver's family.

I think this film is beautifully shot, very very well acted and also incredibly funny in some unexpected moments.
The film poster looks very modern - a mix of "Babylon" and "Everthing Everywhere All At One".

I watched this film yesterday, it reminded me a bit of The Talented Mr Ripley (1999). I was a bit slow in cottoning on to what Oliver was up to which made the ending all the better for me.

Jacob Elordi must have a brilliant agent because he seems to be in so many films these days and he was perfectly cast in this one. But this is Barry Keoghan's film and he's excellent in it. Overall, it's a good film

 

[Spells & Karma]

I'm a big fan of Glenda Jackson and although her role was quite small if was lovely to see her in another film.

It's funny, but I didn't really think of her role being smaller until you mentioned it. You're quite right - she gets a lot less screen time than Michael Caine - but it all flowed so well, and they did such a good job of interspersing some of her scenes with those set in Normandy* that it never felt she was offscreen for too long.

I've seen shamefully few Glenda films and hope to rectify this in the fullness of time.

The story is currently being made into another film with Pierce Brosnan taking on the Michael Caine role which might also be interesting to watch and compare.

Yes indeed, although this one is a difficult act to follow.






* Since watching the films, I've learnt that it was shot entirely in the UK, so there was some cheating going on with the French scenes. I didn't suspect for a minute, which is a testament either to their cleverness or my lack thereof.

 

[Emelee]

Breakfast at Tiffany's. I simply love Holly Golightly's style! Super chic. The story feels modern with a strong independant survivor woman and a male prostitute. But I don't imagine anyone today would have white actor with yellow face make-up, small eyes, false teeth etc playing a Japanese man today. And having the character being a clumsy and angry antagonist too.

 

[Biggie]

Rise Of The Footsolider 3.

The first one was excellent, the second was OK, the third was really good.
If nothing else, this movie, shows that drug dealing is a very difficult and all consuming occupation. But our man here Pat Tate had a work etiquette that others admired but none could match.

Ol' Pat really went the extra mile in his chosen profession to ensure that he'd be holed up just right in that Range Rover by that guy wielding the shot gun. Poor old never understood that calculating criminals that fight with their mind are soooooo much more dangerous that violent thugs.

The star of the show... him with the firearm that said "bye bye Pat" Then holed up the other 2 in the motor. Busy night did the man have.