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  • Inside (2007) - Pretty much across the board I've been disappointed with recent horror movies that I've seen, but a number of horror fans whose opinions I respect had recommended this one to me. I thought it was decent, but unexceptional--certainly unpleasant to watch. Parts of it were effective, others weren't. Parts were plausible, others...not so much. Something I've noticed is that there seems to be a rather predictable trend that has developed in virtually every contemporary "hardcore" horror films: A sadistic person or persons torture another person or persons; throughout the film, various other persons show up to rescue the person being tortured, but the audience realizes in every instance that the seemingly omnipotent torturer will manage to repel all attempts at assistance. Lots of blood sprays around the place. End film.
    I'd buy that for a dollar!

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    • Warrior. Much better then I expected it to be. MMA is really silly, and I expected some kind of lame Rocky-esque BS film, but it turns out it has quite a bit more depth then that.
      "No presh from the Dresh!"

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      • Schoolgirl Report 8 - I learned a valubable less from this film - don't pee in the lake while skinny dipping because it will make the fish horny.

        Spellbinder - 80s cheese about a dude who picks up a girl who is part of a coven. Hilarity ensues, Kelly Preston shows her boobs. Fairly bad but pretty entertaining.
        Rock! Shock! Pop!

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        • Originally posted by Ian Jane View Post
          ...Kelly Preston shows her boobs.
          See. It's good I go to sleep sometimes.
          Ŗǭƈḱ!Ꞩẖȫçꞣ!Ƥӧꝕ!

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          • The Long Good Friday. Cause you know.... today is good friday. And also it is one of the best gangster films ever made.
            "No presh from the Dresh!"

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            • Schoolgirl Report 8 was not what I expected it to be. I expected it to be like those stupid fake "sexy" doumentaries that SWV puts out. Happily it was not.
              Ŗǭƈḱ!Ꞩẖȫçꞣ!Ƥӧꝕ!

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              • AMERICAN GRAFFITI. Kenneth Anger's sequel/remake to KUSTOM KAR KOMMANDOS was great. It seemed like 70s filmmaking in full flower: the lacerating emptiness of cruising the strip, the shocked staggering figures in a field at the climax, the high ambiguous americana erotic symbolism of Suzanne Somers in her white T-bird (like Moby Dick without the dick). Like Harrison Ford, we could see death ('Nam) hanging there in front of us every time we looked in the rearview. Like Terry, and the Pharaohs, maybe we were supposed to be paying attention to the scratches on this one emblematic night of gloss, chrome and sentimental nostalgia: but all we saw was the "Happy Days" pilot. A few years later, Anger would sell out entirely, put SCORPIO RISING's soul in pawn to make STAR WARS, the 70s would officially be over, and decades of boys would grow up rocking & rolling their lightsabers. By the end of the millennium, who could recognize (or even recall) the Pierrot of RABBIT'S MOON in the graceless Jar Jar Binks? Goodnight, sweetheart.

                My wife said, "What, we don't find out what happened to any of the women?" I told her Kenneth Anger was maybe less interested in them, but she was still disappointed.

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                • NIGHT PASSAGE - This was supposed to be the next Anthony Mann/Jimmy Stewart western, and indeed, Mann may have shot the opening sequence. He wasn't happy with the script though and asked to be let out of the picture. He was right, it's not a bad film but it's not nearly up to the standards of the others he did with Stewart. It is however cool to see Audie Murphy and JS in a western together and it's certainly above average by most measures just not up there with THE NAKED SPUR etc.
                  I don't go to church. Kneeling bags my nylons.

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                  • Scandalous Photos... not great. The story went in too many directions and kept re-main charactering to be able to keep track of what was going on.

                    The Pet... okay. Not what I expected from the packaging, but better than I figured it would be between only knowing anything about it from the packaging and watching the trailer. The trailer was terrible and made the movie look unwatchable. Happily it was not. I expected the story to take somewhat of a sexual direction, but it didn't at all. Still it was okay, and some of the imagery was pretty neat. The moral at the end was kind of weird and out of place.
                    Ŗǭƈḱ!Ꞩẖȫçꞣ!Ƥӧꝕ!

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                    • Originally posted by Barry M View Post
                      AMERICAN GRAFFITI. Kenneth Anger's sequel/remake to KUSTOM KAR KOMMANDOS was great. It seemed like 70s filmmaking in full flower: the lacerating emptiness of cruising the strip, the shocked staggering figures in a field at the climax, the high ambiguous americana erotic symbolism of Suzanne Somers in her white T-bird (like Moby Dick without the dick). Like Harrison Ford, we could see death ('Nam) hanging there in front of us every time we looked in the rearview. Like Terry, and the Pharaohs, maybe we were supposed to be paying attention to the scratches on this one emblematic night of gloss, chrome and sentimental nostalgia: but all we saw was the "Happy Days" pilot. A few years later, Anger would sell out entirely, put SCORPIO RISING's soul in pawn to make STAR WARS, the 70s would officially be over, and decades of boys would grow up rocking & rolling their lightsabers. By the end of the millennium, who could recognize (or even recall) the Pierrot of RABBIT'S MOON in the graceless Jar Jar Binks? Goodnight, sweetheart.

                      My wife said, "What, we don't find out what happened to any of the women?" I told her Kenneth Anger was maybe less interested in them, but she was still disappointed.
                      Nice analysis. To me, the film is not as cohesive without the censored "Eye Gouging/Opium Den/Funeral Pyre/Hair Gel" sequence (only available on SECAM bootlegs in the mid 80's).

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                      • Yeah, otherwise the goat-killer sequence really doesn't pay off. Self-censorship's the worst; but I guess it's hard to stop fiddling with it.

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                        • Himlen í¤r oskyldigt blí¥. A swedish coming of age film that takes place in the swedish archipelago during 70's about young Martin(played by Bill Skarsgí¥rd)*who gets a summer job working at a hotel. The hotel manager Gí¶sta(played by Peter Dalle) takes a liking to young Martin, takes him around while doing some very shady business deals outside of his hotel manager job. (I stole the plot synopsis straight from IMDB out of pure lazyness.)

                          *Yes. Stellan Skarsgí¥rds youngest son.
                          "No presh from the Dresh!"

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                          • Creepshow - it's still a really good movie. Colors really come out nicely on Blu too, it looks pretty good. Pretty much every story is really solid - sometimes I forget how great this movie is.

                            Texas Chainsaw Massacre - hadn't watched this in a year or so. It's still a pretty relentless film, dizzying at times and pretty vicious.

                            Hellraiser - again, hadn't watched this in a while. The optical effects have not aged well and look dated even by the standards of 1987 but hte story is still cool, the Cenobite makeup and costume effects still work really well and the practical effects are pretty decent too.
                            Rock! Shock! Pop!

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                            • The Town (Ben Affleck, 2010). Claims to have once known Eddie Coyle, yeah right, but okay. I only know Chuck Hogan from the Del Toro Strain books, but I don't expect this movie does any disservice to the original novel -- well-done, slightly generic product, familiar enough, peel & stick local veneer. Affleck's a bit of a slab, but as a director he's generous and Jeremy Renner and Jon Hamm get lots of room. Slaine's enjoyable, and now I'm kind of looking forward to him in a real Higgins story (Andrew Dominik's doing Cogan's Trade/Killing Them Softly). Pete Postlethwaite's nothing but gristle these days. People talk funny in Massachusetts.

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                              • I am not sure about The Town. Maybe I would have liked it more if it was not so obviously inspired by Michael Manns Heat. But maybe the only reason I even like The Town is because it is so much like Heat. Fuck. All movies should have public shootouts with assault rifles.
                                "No presh from the Dresh!"

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