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The Last Movie(s) You Watched... (quick one or two sentence reviews)

DirtyCop1036 said:
My favorite movie of all time. What was bad about the story?
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I was trying to be clever using good, bad, and ugly in my "conclusion". I think I'm just not that into westerns... And I have Fistful of dollars queued up đź‘€. Will it be better?
 
daedal said:
I was trying to be clever using good, bad, and ugly in my "conclusion". I think I'm just not that into westerns... And I have Fistful of dollars queued up đź‘€. Will it be better?
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I love the entire Dollar trilogy, but I don't think a Fistful is better than the Good, The Bad and the Ugly. Looks like you went for the chronological order viewing. I prefer the release order, because each film gets gradually better.
 
DirtyCop1036 said:
I love the entire Dollar trilogy, but I don't think a Fistful is better than the Good, The Bad and the Ugly. Looks like you went for the chronological order viewing. I prefer the release order, because each film gets gradually better.
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Yeah I didnt know about the chronological order!
 
DirtyCop1036 said:
I love the entire Dollar trilogy, but I don't think a Fistful is better than the Good, The Bad and the Ugly. Looks like you went for the chronological order viewing. I prefer the release order, because each film gets gradually better.
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My thoughts exactly. A Fistful of Dollars is good. For a Few dollars More is highly underrated. And The Good, The Bad, and The Ugly is a classic, although I wish the much leaner and meaner 160-minute theatrical cut was more available, as I prefer that over the 3-hour version.
 
Oppenheimer. There are moments of great rhythm, where the dialog and scenes just pop and you really feel the immense intellect on display. In those scenes it feels a bit like a Sorkin script. Those were my favorite bits. I also liked the way the last act was handled as it did give it a feeling of climax. I was definitely impressed with the way the movie juggles so many characters and timeframes efficiently. I never felt confused as to what was going on or who I was dealing with. Unfortunately, I still felt my most common criticism of Nolan, namely that his movies feel emotionally cold to me. I wanted to feel connection and gain some insights, but this was more clinical than that. Still, though not my favorite Nolan movie, it’s hard to argue it’s not his best.
 
Eyepainter said:
although I wish the much leaner and meaner 160-minute theatrical cut was more available, as I prefer that over the 3-hour version.
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Same here, I dislike how they humanized Angel Eyes in the extended cut, I prefer when he's a total SOB. Also, I'm not a fan of the fact that they redubbed most of the scenes cause the sound was missing, voices sounds much older and it's very noticeable that it's someone else who's doing Lee Van Cleef, since the actor passed away in the 80s.
 
daedal said:
I was trying to be clever using good, bad, and ugly in my "conclusion". I think I'm just not that into westerns... And I have Fistful of dollars queued up đź‘€. Will it be better?
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You might want to try to figure out if that's really true or you just haven't seen the full breadth yet. For example, the traditional Western (peak era maybe 1920s-1940s) is the literal "white hat"/"black hat", 'sheriff ensures order in the lawless wild' sort of scenario. Typically unchallenging, comfort food sort of films. But then "Revisionist" Westerns came along, showing that sheriffs could be stooges for robber barons, that outlaws could be heroic, that hookers could have hearts of gold, etc. And then you've got your Neo-Westerns, or "Post-Western", where it's often modern, and there's a protagonist who's a kind of straight-shooter, a simple, old-fashioned guy in a chaotic modern world. Bringing a touch of the ol' Black and White to a morass of gray. And then there's all kinds of smaller sub-genres in between.
If you haven't seen them, you could try:
Traditional Western: Stagecoach or Red River
Revisionist Western: Dances With Wolves, or Tombstone (arguably; I think it splits the difference)
Neo-Western: No Country For Old Men, Desperado, The Way of the Gun, many more

(Personally, I like For a Few Dollars More the best in the trilogy. It's a little more unpredictable than A Fistful of Dollars, but not as bloated and grandiose and indulgent as TGTBATU. I'll never find a cinephile to agree with me on that latter point, but hey, some of us just watch movies for entertainment sometimes.)
 
mnkykungfu said:
You might want to try to figure out if that's really true or you just haven't seen the full breadth yet. For example, the traditional Western (peak era maybe 1920s-1940s) is the literal "white hat"/"black hat", 'sheriff ensures order in the lawless wild' sort of scenario. Typically unchallenging, comfort food sort of films. But then "Revisionist" Westerns came along, showing that sheriffs could be stooges for robber barons, that outlaws could be heroic, that hookers could have hearts of gold, etc. And then you've got your Neo-Westerns, or "Post-Western", where it's often modern, and there's a protagonist who's a kind of straight-shooter, a simple, old-fashioned guy in a chaotic modern world. Bringing a touch of the ol' Black and White to a morass of gray. And then there's all kinds of smaller sub-genres in between.
If you haven't seen them, you could try:
Traditional Western: Stagecoach or Red River
Revisionist Western: Dances With Wolves, or Tombstone (arguably; I think it splits the difference)
Neo-Western: No Country For Old Men, Desperado, The Way of the Gun, many more

(Personally, I like For a Few Dollars More the best in the trilogy. It's a little more unpredictable than A Fistful of Dollars, but not as bloated and grandiose and indulgent as TGTBATU. I'll never find a cinephile to agree with me on that latter point, but hey, some of us just watch movies for entertainment sometimes.)
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But if you want to subvert all the expectations relative to the genre, The Great Silence is what you're looking for.
 
Cop Land (1997)
Saw this for the first time the other day, enjoyed it very much! What a star studded cast! Shows you how a cover up can change everything. And just like Rambo, Sylvester kills it (pun intended)
 
Parasite (2019)
Although I'm quite late to the party, I was able to go in totally blind.
Absolutely amazing. Love it love it.
 
Following up on MLK Day and getting an early jump on Black History Month....

Do the Right Thing (1989)
I've seen Spike Lee's breakout film described (and often) as "the definitive statement on race relations in America".... well, I don't think that's true. I don't think Lee really has a defined point of view or has thought out his messaging exactly. But it's certainly the definitive portrayal of race relations, as relevant today as it ever was, probably even more so!

At the River I Stand (1993)
This shorter documentary makes a good follow-up companion piece to Selma, covering the Memphis Sanitation Workers Strike and, inadvertently, MLK's final days. It's somewhat by-the-numbers, but the sourcing of the contemporary footage is so excellent that it's a strong doc all the same.

Blazing Saddles (1974)
Holy crap did I have a lot of belly laughs watching this! The laugh ratio was probably 3 out of every 5 jokes, but they come so fast and the ones that hit were so good that I ended up loving the film. The meta-comedy scales-up until a bonkers ending, which may turn off or make the film for some people. For me, I just kept marveling at what has been said about the film by everyone for the past 30+ years: "They could never make this movie today!"
 
mnkykungfu said:
Blazing Saddles (1974)
Holy crap did I have a lot of belly laughs watching this! The laugh ratio was probably 3 out of every 5 jokes, but they come so fast and the ones that hit were so good that I ended up loving the film. The meta-comedy scales-up until a bonkers ending, which may turn off or make the film for some people. For me, I just kept marveling at what has been said about the film by everyone for the past 30+ years: "They could never make this movie today!"
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I guess I’ll never understand the sentiment that this couldn’t be made today. As you note, the idiot raciest are the butt of the joke. Exactly why couldn’t it be made? Get Out is a movie in a similar vein IMO. It’s Always Sunny in Philadelphia is constantly making fun of the ignorant stances of its main characters. Satire is satire and I think those that don’t get the joke, don’t realize that the joke is on them.
 
Moe_Syzlak said:
I guess I’ll never understand the sentiment that this couldn’t be made today. As you note, the idiot raciest are the butt of the joke. Exactly why couldn’t it be made? Get Out is a movie in a similar vein IMO. It’s Always Sunny in Philadelphia is constantly making fun of the ignorant stances of its main characters. Satire is satire and I think those that don’t get the joke, don’t realize that the joke is on them.
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I think a lot of it has to do with the usage of the n-word, although I agree the controversy surrounding the film is ridiculous. So ridiculous that a certain streaming service (I think it was Max) decided to add a disclaimer warning viewers about the film's "racist content" and how it has no place today in our society. It's a very sad commentary on how cinematically illiterate we've become as a species.
 
The Muppets' Wizard of Oz - One of the worst things I've seen. Ranges from hilariously bad to genuinely bad, at other times it's just plain boring. The Tarantino cameo is the best part. Kermit-Scarecrow mentioning The Passion of the Christ killed me.
 
Escape from Alcatraz (1979)
Decided to give this a proper rewatch since it’s been awhile. Never knew until now it was the fifth and final collaboration between director Don Siegel and Clint. What an excellent sendoff for those two. Crazy to think Alcatraz was shutdown less than a year after the escape. Still to this day nobody knows what happened to those three lucky men!

WarGames (1983)
So this is what happens when Ferris Bueller unintentionally scares the entire freaking planet. Moral of the story? Never trust a computer, but it’s too late for that now. Wonder how our defense systems are today and if there really is a way to prevent a nuclear disaster based on false information.
 
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ravks said:
Escape from Alcatraz (1979)
Still to this day nobody knows what happened to those three lucky men!
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I got fascinated by this story after visiting Alcatraz. Bought a book there that broke down all the escape attempts (13 serious ones). Have since seen a couple docs on this one in particular. Long story short, the best evidence points to two of the guys making it down to Mexico and living the rest of their lives there, or at least never coming back to the US. Looks like one died in the swim and his body was swept out to sea.

ravks said:
WarGames (1983)
So this is what happens when Ferris Bueller unintentionally scares the entire freaking planet. Moral of the story? Never trust a computer, but it’s too late for that now. Wonder how our defense systems are today and if there really is a way to prevent a nuclear disaster based on false information.
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Moral of the story is that nobody can win a game of M.A.D. Regarding your last point: I wish more people knew the name Vasily Arkhipov. He's a Russian nuclear sub officer who probably literally saved the world. Look up his story, it's terrifying and inspiring.
 
The Good, The Bad and the Ugly (1965) - it was pretty good and stylized but felt there were some pacing issues. Many scenes were iconic and had that larger than life feel to it. enjoyed it
rating- 3.75/5


a fanedit could further improve the film by trimming it
 
Super 8 (2011)

When I first saw this in a theater, my initial reaction was that it was okay. Watching it again more than a decade later, my opinion hasn't changed. This is a very pale attempt to imitate Steven Spielberg. The emotional character development moments, and the ending, are the film's saving graces, and they keep me from calling this one bad. But honestly, I'd rather watch Close Encounters or E.T. over this, and those aren't even my favorite Spielberg films.
 
mnkykungfu said:
Traditional Western: Stagecoach or Red River
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While keeping with many aspects typical of the era, I would argue that there is a good bit of grey to Red River. Wayne's character for one is definitely not of the traditional heroic type, supposedly it was this performance that led John Ford to proclaim that he didn't know until then that his to-be frequent lead could actually act!
 
Must say that I have a vested interest in Red River though, having done a couple of edits of it!
 
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