films we just saw
Oh yeah, you reminded me I also saw Rottweiler recently. It was a strange one. Not particularly good but it gets bonus points for being completely not what I was expecting.
And that chicken was feckin great! Best actor in the film. Anyone who's seen it will know what I mean.
And that chicken was feckin great! Best actor in the film. Anyone who's seen it will know what I mean.
Bring her to me, you bum. I'll take care of business.
If you like Sorority House Massacre. There is another average slasher from the 80's called The House on Sorority Row aka House of Evil. That is worth a watch. A bit cliched but watchable though.Laymonite wrote:Also wattched Sorority House Massacre too, on Horror Channel. It's average slasher stuff, I'm sure most of you have seen it. It's essentially a remake of Halloween and Black Christmas. Hehe, it was years ahead of it's time
Just had a real s###t day was about to see The Outlaw and saw musclebound 300 was on. Now what a choice!
Rather enjoyed this epic. Rather liked the washed out look. At times the scenes are just amazing. At other times the music is not as rousing as you think it should be. All the actors are just one word - strapping. Real mean near naked fighting machines. Really liked the some of the slow motion sequences.
There were instances of Gladiator, and Lord of the Rings. and Bruce Pennington artwork.
3 leather bounded stars
Last edited by lupogirl on Thu Mar 22, 2007 10:32 pm, edited 1 time in total.
"We Who Walk Here Walk Alone"
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INCLUDING SPOILERS.....
I half liked THE ILLUSIONIST, though I was slightly ahead of them some of the time. I figured Jessica Biel wasn't dead because unless you're Hitchcock you don't kill off the female lead halfway through the movie. A fine collection of beards (I suspect Rufus Sewell's was stuck on, though) and a nice period look.
THE GOOD GERMAN annoyed me. Soderbergh went to all the trouble of getting the same lenses as used by Michael Curtiz 60 years ago, and dug out the same back projection footage for the scenes with Tobey Maguire and George Clooney in the jeep; he shot in black and white, had a sweeping orchestral score - but any homage to 40s and 50s WW2 movies disappears when Tobey Maguire says the first of many F-words. Nice to watch but completely forgettable.
INLAND EMPIRE I actively hated. David Lynch is the master of creating an atmosphere of unspeakable dread and horror without really doing anything, and he does it again here - but he's been doing it since Blue Velvet 20 years ago. This new one is shot on digital, runs for around three hours and is total billhooks from start to finish. Laura Dern goes tonto and gets killed with a screwdriver. Or maybe not. It's rather like watching someone randomly channel-switching through the Sky Gibberish Plus package while they're yelling at you. Certainly the reels could be shown in any order and it wouldn't make a blind bit of difference (alright, not reels because it's on disc so there are no reels. It could be put on chapter shuffle and it wouldn't make a blind bit of difference.)
OUTLAW is generally terrible, and though auteur Nick Love has a few good points, he's been at pains to stress he hates violence, he doesn't agree with the methods, it's all a fantasy etc. But these guys are rubbish. The top-billed Sean Bean acts largely confused: he doesn't have any clear objective and doesn't seem to know what he's trying to achieve. The others are largely ciphers: the liberal black lawyer, the total nutter, the last good cop. There's a potentially terrific movie to be made about vigilantes in modern Britain, but this isn't it.
PREMONITION is nice and pretty, but it's ultimately a girlie movie. The time-slipping stuff is tricksy and clever but doesn't all hang together, and I kept expecting it to become a drive-the-wife-mad movie but it never did. Some nice moments but not a movie I'm anxious to see again any time in the next 40 years.
300 is terrific: loud, bloody, spectacular (even if it's mostly stylised in the computer) and about as subtle as a land mine. Lots of yelling and big scary men in jockstraps. The bronze look is fabulous. So that's Film Of The Week.
I half liked THE ILLUSIONIST, though I was slightly ahead of them some of the time. I figured Jessica Biel wasn't dead because unless you're Hitchcock you don't kill off the female lead halfway through the movie. A fine collection of beards (I suspect Rufus Sewell's was stuck on, though) and a nice period look.
THE GOOD GERMAN annoyed me. Soderbergh went to all the trouble of getting the same lenses as used by Michael Curtiz 60 years ago, and dug out the same back projection footage for the scenes with Tobey Maguire and George Clooney in the jeep; he shot in black and white, had a sweeping orchestral score - but any homage to 40s and 50s WW2 movies disappears when Tobey Maguire says the first of many F-words. Nice to watch but completely forgettable.
INLAND EMPIRE I actively hated. David Lynch is the master of creating an atmosphere of unspeakable dread and horror without really doing anything, and he does it again here - but he's been doing it since Blue Velvet 20 years ago. This new one is shot on digital, runs for around three hours and is total billhooks from start to finish. Laura Dern goes tonto and gets killed with a screwdriver. Or maybe not. It's rather like watching someone randomly channel-switching through the Sky Gibberish Plus package while they're yelling at you. Certainly the reels could be shown in any order and it wouldn't make a blind bit of difference (alright, not reels because it's on disc so there are no reels. It could be put on chapter shuffle and it wouldn't make a blind bit of difference.)
OUTLAW is generally terrible, and though auteur Nick Love has a few good points, he's been at pains to stress he hates violence, he doesn't agree with the methods, it's all a fantasy etc. But these guys are rubbish. The top-billed Sean Bean acts largely confused: he doesn't have any clear objective and doesn't seem to know what he's trying to achieve. The others are largely ciphers: the liberal black lawyer, the total nutter, the last good cop. There's a potentially terrific movie to be made about vigilantes in modern Britain, but this isn't it.
PREMONITION is nice and pretty, but it's ultimately a girlie movie. The time-slipping stuff is tricksy and clever but doesn't all hang together, and I kept expecting it to become a drive-the-wife-mad movie but it never did. Some nice moments but not a movie I'm anxious to see again any time in the next 40 years.
300 is terrific: loud, bloody, spectacular (even if it's mostly stylised in the computer) and about as subtle as a land mine. Lots of yelling and big scary men in jockstraps. The bronze look is fabulous. So that's Film Of The Week.
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Just watched two films on DVD
Right at Your Door. What a genuinely scary film. With the current climate this makes it a engrossing film. The tension building and increasing paranoia thoughout the film. Then the outcome. Leaves you thinking....
Finally saw The Wicker-Dear oh Dear-Man. I agree with various comments on this film. Thought everyone in it was so stilted. The Willow character kept pausing so much I thought she was frantically trying to remember her lines. It is up there with The Omen remake.
Right at Your Door. What a genuinely scary film. With the current climate this makes it a engrossing film. The tension building and increasing paranoia thoughout the film. Then the outcome. Leaves you thinking....
Finally saw The Wicker-Dear oh Dear-Man. I agree with various comments on this film. Thought everyone in it was so stilted. The Willow character kept pausing so much I thought she was frantically trying to remember her lines. It is up there with The Omen remake.
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Seen three films at the cinema this week:
Premonition - straight out of the 'scary movies for dummies' handbook. Utterly predictable - and at least having the balls to retain a downbeat ending - no chemistry between the leads, and to be honest who cared about her husband when he was a cheating b*stard anyway? And that funeral scene was unintentionally funny...
Factory Girl - interesting account of the Factory scene in the late 60's with some nice bits of direction and good tunes. Sienna Miller proved she can act a bit and Guy Pearce did a decent Warhol.
I Want Candy - fomulaic low-rent British comedy by numbers. In dire need of a decent script - really, are jokes about Asian girls and ping-pong balls funny in 2007? Really poor.
The latter also showcased my local Cineworld's projection talents to the fore - this time they managed to screen a trailer for Wild Hogs upside down and backwards. Probably funnier than the actual film.
Also watched a couple of Asian chillers on DVD this weekend - Koma (out on Tartan) which was an above-average thriller about kidney-harvesting. Then serial-killer flick Cure (from the director of the original Pulse) which was very moody but not very exciting at all...
Premonition - straight out of the 'scary movies for dummies' handbook. Utterly predictable - and at least having the balls to retain a downbeat ending - no chemistry between the leads, and to be honest who cared about her husband when he was a cheating b*stard anyway? And that funeral scene was unintentionally funny...
Factory Girl - interesting account of the Factory scene in the late 60's with some nice bits of direction and good tunes. Sienna Miller proved she can act a bit and Guy Pearce did a decent Warhol.
I Want Candy - fomulaic low-rent British comedy by numbers. In dire need of a decent script - really, are jokes about Asian girls and ping-pong balls funny in 2007? Really poor.
The latter also showcased my local Cineworld's projection talents to the fore - this time they managed to screen a trailer for Wild Hogs upside down and backwards. Probably funnier than the actual film.
Also watched a couple of Asian chillers on DVD this weekend - Koma (out on Tartan) which was an above-average thriller about kidney-harvesting. Then serial-killer flick Cure (from the director of the original Pulse) which was very moody but not very exciting at all...
First things first, stay calm.
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