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Last Movie You Watched and Rate It (Part XVII)

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Old
04-17-2013, 09:37 PM
  #151
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Searching for Sugar Man - 5/10

Seemed like a good premise but the key character is not very interesting, frankly, and the music may have been compelling in 1973, but it just sounds old and dated now.

Expected much more.

 
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04-17-2013, 09:42 PM
  #152
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Django unchained. 7/10

Very entertaining movie.

Found some key parts to predictable with no real surprises but overall it was a great movie that I could just turn my brain off and be entertained also had some great/interesting/memorable characters.

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04-18-2013, 12:03 PM
  #153
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Killing Them Softly : 8/10

Not what I expected at all. Really unglamorous slice of modern gangster life in an impoverished part of the US.

 
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04-18-2013, 01:02 PM
  #154
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Quote:
Originally Posted by Dado View Post
Searching for Sugar Man - 5/10

Seemed like a good premise but the key character is not very interesting, frankly, and the music may have been compelling in 1973, but it just sounds old and dated now.

Expected much more.
Really? It's too bad you didn't like the film, but can you really deny that Rodriguez has a heck of a unique story?

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04-19-2013, 04:54 PM
  #155
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To the Wonder (2013), directed by Terrence Malick: Let's get this out of the way quickly: To the Wonder is a terrible film. For the record, until today I thought The Tree of Life was Malick's worst film. I found that film's first act beautiful, the second act arbitrary, the third act silly and pointless, and the whole thing incoherent. Though this is a very different movie in some ways, it shares similar problems. To the Wonder starts out very elliptically, and having seen two terrific highly elliptical films last weekend--Upstream Color and Like Someone in Love--I was looking forward to the experience. That pleasant feeling of expectation lasted for maybe 20 minutes. Last weekend's films had plot and character even if the directors expected me to do most of the heavy lifting myself. To the Wonder has neither. Ben Affleck plays Neil, a man virtually indistinguishable from a tree stump, who is loved by not one, but two beautiful women, played by Olga Kurylenko and Rachel McAdams. Neil, looking permanently morose, cannot put a complete sentence together; Olga and Rachel picturesquely suffer, wandering endlessly around wheatfields and backyards wondering (silently) why they have feelings for this boring man. Javier Bardem plays an equally morose priest; like Sean Penn in The Tree of Life, Javier may in part look so down in the dumps because he has nothing whatsoever to do of importance in the movie. Bardem and Affleck have one brief scene together late in the movie and it's like the acting equivalent of a black hole.

As in Malick's earlier The Thin Red Line, the movie is filled with voice-overs of what people are thinking in their heads. Unfortunately, they are having thoughts like "What is this love that loves us?" and "Where are we when we are there?" and "You, cloud." Kurylenko actually is very fetching as she combines grace and beauty in endlessly photogenic ways, assisted by her training in dance. Affleck and McAdams scenes together are not so fortunate: they seem like two models in a glossy Christian Dior ad trying to figure out what the photographer wants. There is much brushing of hair in the wind and pained expressions. And don't even bother to ask me about the ****ing buffaloes. Yes, the cinematography is expertly done and there is the occasional memorable shot, but most of the movie is as dull and monotonous to look at as the flat Oklahoma landscape in which much of it is shot. When this movie finally ended I felt that I had been blessed by the gods. I couldn't get out of the theatre fast enough. "You, cloud," my ass.


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04-19-2013, 06:40 PM
  #156
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state of mind /2003

8/10 a sixteen year old boy that fears emotion kills an retarded boy because he wants to spare him a life with rejection.

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04-19-2013, 11:43 PM
  #157
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Evil Dead (2013): 7.5/10
I've never seen the original, so I can't compare the two. I went with a friend who's a diehard fan of the original, and he said the movie departed so much from the original they could have made a few more changes and had a brand new movie, without having to worry about comparisons to a cult classic. So why didn't they? Is this where Hollywood is at now, where we have to attach our film to an existing one if we ever hope to get it made? Yikes...
Incidentally said friend didn't like this remake, but I thought it was pretty good. Although honestly, the state of new horror movies is so pathetic that I think I call one good if it doesn't piss me off. Evil Dead didn't, much. Sure there's typical survival horror stupidity, but that's to be expected. The scares are good, the movie is incredible to look at (both cinematography and effects) and I felt it was pretty original, for what it is.
On the downside, the acting is terrible, the dialogue is stupid, the music (especially the "emotional" music) would be brutal for even a Twilight film, and the subtle nods to the original in certain musical cues and editing choices would have been better avoided altogether.
Despite all that, I had a good time. Not bad at all.

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04-20-2013, 07:04 PM
  #158
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Oblivion (2013), directed by Joseph Kosinski: Jack (Tom Cruise), one of the last people left on earth, is a technician who looks after drones who scour the decimated planet eradicating the few remaining alien invaders who ravaged Earth sixty years earlier. He lives with Victoria, a technician/partner in a house high in the clouds. Though he is not supposed to have any former memories at all, he strangely has dreams of Julia (Olga Kurylenko), a woman he somehow remembers from a New York that existed before he was born. When Jack rescues a woman from a spaceship that has crashed, he begins to realize that things are not what they seem. The movie has a terrific look with a definite Storm Thorgeson influence evident as many shots look like they would make great Pink Floyd/Yes/Genesis album covers. When it comes to developing some potentially interesting ideas, though, Kosinski seems content to steal scenes from other movies. There are so many homages/references/thefts from other outer space science fiction movies (and a curious, perhaps unintended nod to The English Patient) that they ultimately become distracting, as in "Oh, that action sequence is sooo Star Wars." It's not really an actor's movie either, as there is not much character development for the talent to sink their teeth into and, thus, there is little emotional involvement as the plot develops. Still, I really enjoyed watching the film float by. It is consistently fascinating to look at despite its shortcomings elsewhere.


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04-20-2013, 07:34 PM
  #159
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Oblivion was phenomenal. beautiful cgi, great casting and a great plot. they actually focus the story on the characters rather then action. its a slower movie but its still very intense. haters can hate I loved it.

9/10

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04-20-2013, 09:20 PM
  #160
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42 (2013) - 8/10. One of the better sports movies I've seen in a long while.

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04-20-2013, 10:22 PM
  #161
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The Place Beyond the Pines: 6.5/10
This is a movie that almost feels like a 3-in-1 package deal, like it's compiled from three intertwined stories. The problem is that the movie divulges all of its secrets and mystery in the first act, and then is left with little else to do but beat you over the head with its raison d'etre for the following two, excluding the occasional plot divergences to pad the running time.
Despite that, though, it's not a particularly boring film...the acting is top notch all around, the movie looks good, and the music is excellent (Mike Patton channelling Angelo Badalamenti?). But after about the first hour, there's not much less to do but wait around while Cianfrance gets exactly to where you knew he was going. The two words that kept coming to mind to think of how best to describe the film would be 'clunky' and 'overbearing'.

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04-22-2013, 01:20 AM
  #162
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Turn me on, Dammit! - 2.5 or 3
Fun, simple, honest little movie. I thought the letters to death-penalty-bound convicts about petty pre-teen schoolgirl problems were hilarious.

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04-22-2013, 01:26 AM
  #163
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After The Wedding (2006)
I've never been a big fan of Susanne Biers movies, but I thought I should give the movie that is arguably regarded as the best she has made to date. And I'm glad I did, cause this is not a bad movie. The movie is about Jacob, played by Mads Mikkelsen, who runs an orphanage in India on the verge of bankruptcy. But he gets an offer of funding from a wealthy Danish businessman, so Jacob travels to Denmark and meets with the businessman named Jørgen, who is as good as convinced that Jacob deserves the money. He even invites Jacob to his daughters wedding the next day. Here he meets Jørgens wife, whom Jacob knew many years ago. He also discovers a big family secret. The movie is very well acted with great performances by Mads Mikkelsen, Sidse Babett Knudsen who played the wife, and Swedish Rolf Lassgård playing Jørgen. The story suffers from too many convenient coincidences that ends up making the story feeling artificial. This is only a minor problem though, as the story isn't where the movie thrives in the first place. Where it really thrives is the many 1-on-1 scenes where the actors abilities and the great dialogue really shines. Overall it's a very good movie that mainly suffers from having an unbelievable story, but the craftsmanship is all top notch and that makes it a worth watch.

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04-25-2013, 11:02 AM
  #164
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The Company You Keep (2013), directed by Robert Redford: Sharon (Susan Sarandon), a former ‘60s Weathermen revolutionary, is finally arrested for bank robbery killings in which she participated back in the day. Hearing the news of her arrest, Jim (Robert Redford), one of her alleged accomplices who has also avoided arrest, takes off for parts unknown with Ben (Shia LaBeouf), a dedicated Albany reporter, in hot pursuit. This is a conventional thriller but, sadly, it seems more like a vanity project for its leading man. For starters, Redford is simply way too old for the part and the attempts to disguise that fact only draw more attention to it. His character has a 10 year old daughter to protect for whom he seems more like a great-grandfather, and he has been on the lam for 30 years when, if historically accurate, it should be closer to 50. Redford gathers an impressive cast of no less than nine former Academy Award winners or nominees, but they get bit parts that require little of their considerable collective talents, allowing Redford and a very good LaBeouf (he's the best thing in the movie) to eat up most of the screen time. Then there are a whole host of questions and plot holes provided by a sloppy and indulgent script that never come close to being resolved (to name just one of the multitude, how come the kid reporter is always two steps ahead of the police?) Finally, how many people are going to want to rehash ‘60s radicalism at this late date, especially when Running on Empty did this sort of thing way better a quarter of a century ago. I genuinely like Redford, but here he’s like an athlete who doesn’t know when to hang up his spikes. The reception to this movie may make it pretty obvious, though.


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04-25-2013, 05:55 PM
  #165
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I picked up Upstream Color again. Knowing what was coming, I wondered how well it would hold up on a second viewing. I think the word for the film is "mesmerizing." It requires concentration but somehow it almost effortlessly promotes viewer concentration as a magical side effect. Everything depends on director/actor/writer/cinematographer/composer/co-editor/camera operator Carruth's intuition, but there is hardly a single misstep along the way. His only other film, the virtually impenetrable Primer (2004) recalls Chris Marker's brilliant experiment La Jetee, mostly because of its preoccupation with time travel. But, in a very different way, Upstream Colors recalls La Jetee as well. Watching the new Carruth film is like watching the evocative images in La Jetee, but minus the voice-over narration that makes sense of the story. In effect, Upstream Color, though it has plenty of dialogue, requires the viewer to become his/her own narrator, each audience member piecing the story together independently of other viewers. It is a very original way to cinematically show (not tell) a story. That it seems to work so well for so many movie goers is sort of mind-boggling.



Best of '13 so far

1. Upstream Color, Carruth, US
2. Like Someone in Love, Kiarostami, Iran
3. Leviathan, Castaing-Taylor/Paravel, US (documentary)
4. The Hunt, Vinterberg, Denmark

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04-25-2013, 06:17 PM
  #166
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Scary Movie 5: 0/10

Horrendous beyond belief thank god I didnt have to pay for it.

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04-26-2013, 08:22 PM
  #167
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Upside Down (2013), directed by Juan Diego Solanas: The concept is either irredeemably silly or pure genius depending on one's point of view (most people seem to be aligning themselves with the "irredeemably silly" side. Two worlds with opposing gravities exist virtually on top of one another. One, the elite one, is called Up Above, the other, basically the downtrodden one, is called Down Below. When he was a boy Adam, poor as a church mouse, fell in love with Eden, a girl from Up Above. When he gets a job inventing skin creams in the same building where she works (though upside down, of course), he begins to court her, though it is very dangerous to do so, especially as she doesn't remember him. The movie has a sliver of the budget of, say, Inception, but it comes up with some lovely images and effects, as well as a whole lot of very cheesy ones. It could have been an original, fun fantasy--I like the concept myself as it is rich in visual potential--but the script is terrible and the romance utterly uninspired. Its an eccentric curiosity, nothing wrong with that, but a bad movie.

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04-27-2013, 11:29 AM
  #168
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The Millionaire Tour

8/10

A mysterious cab passenger who is taken hostage must convince the hijackers that he is not the legendary con man they set out to kill. Is it a case of mistaken identity, or a clever act of deception?

Great little low budget thriller that has some nice twists all throughout. Original set-up as to how everyone gets into the positions they are seem to have some holes in it but once you get past that (and it's pretty easy to do) the rest of the movie is very enjoyable.







Haywire

5/10

A black ops super soldier seeks payback after she is betrayed and set up during a mission.

Movie plays out that you are in the now and she has flashbacks telling you the previous happening to get you up to where you are. Plot plays out that several higher ups could have been the one that set her up and she must figure out played what part in the set-up.

Problem for me was I didn't care for any of the characters, no emotional connection whatsoever. As the pieces of the plot were revealed, I could care less. It wasn't so bad that I wanted to turn it off, but I was think, "just show me the bad guy so I can go to bed" LOL


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04-27-2013, 05:53 PM
  #169
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Saw Snatch for the first time last night. Very good movie and very funny!
8/10.

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04-27-2013, 11:54 PM
  #170
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Saw Snatch for the first time last night. Very good movie and very funny!
8/10.
*must not insert "a" into quote*

Iron man 3 - 8½/10. Better than the second not quite as good as the first. Despite the trailers, managed to surprise a couple of times, mostly in the comedic department. The last 2/3 were good, plenty of funny moments, good action scenes. Now if I could only get Eiffel 65's "Blue" out of my head again...

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04-28-2013, 01:55 AM
  #171
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*must not insert "a" into quote*

Iron man 3 - 8½/10. Better than the second not quite as good as the first. Despite the trailers, managed to surprise a couple of times, mostly in the comedic department. The last 2/3 were good, plenty of funny moments, good action scenes. Now if I could only get Eiffel 65's "Blue" out of my head again...
You should have, I set myself up for that!

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04-28-2013, 05:15 PM
  #172
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I just watched Compliance. I didn't know much about it other then the mere genre and a merely decent IMDB-score, so I expected little. It ended up virtually keeping me on my heels throughout. With little action and a relatively small range of development, it takes on an important issue. While that is hardly always a good recipe for a movie, it does so using an uncommon angle and what I found to be very competent acting to create an atmosphere more than fair to the premise and the key point.

The title is what the movie is about. It's basically a version of some classic sociological experiments on conformity and diversion of responsibility from a different, and even more malevolent angle. When browsing through some reviews, there seemed to be a lot of people not allowing themselves to buy inthe movie, as they felt the characters were "too stupid". A big enough part of society would not react to the developing situation as some characters did in the movie and in the events it inspired - and for very different reasons, of which most actually would not be the ones that ones get blamed for. It's taking a basic page out of the classic Milgram experiments. It raises the stakes considerably, and it physically removes the person in charge from the immediate scene. Those might be the only reasons for not more people falling for it.

Craig Zobel and his cast did a remarkable job in portraying the individual struggles of the people involved, as they feel trapped in between their conditioned urge to comply with accepted authorities and their own moral values. And that's where the commenters are wrong about the characters being stupid: in the existence (and its very clear visibility) of that struggle, and not the numb step above any lines, lies the realistic level of integrity (or what one may call it). The characters won't just straight up do what they are told. For every one of them, it starts with a psychological line, what is commonly called a moral compass. None of them will pass that line as they are first guided towards acting against it. Each of them are getting (mentally) pushed by the perceived authority, and that fine line - that clearly existed for every one of them as they arrived in the situation - gets more and more blurry. The film does a fine job in presenting a handful of the many factors: whether it's mere rationalisation (as actually helping against better knowledge on some level) or the influence of stress (for example due to work conditions, as both prestend through the store manager Sandra), the confrontation with what could be seen as self-interest (painfully contrarily portrayed through Becky on the one hand, and Kevin and Van on the other), or simply the effects of alcohol (Van) - their lines get methodically attacked in waves up to the point where the urge to comply outweighs the benefits of not passing a washed-away line in the sand. And once past that line, behaviour more quickly adjusts accordingly to the example laid out by the authority (Sandra starting to forbid Becky to talk).

It doesn't work on everyone, as the film doesn't fall short to address. Not everybody is similarly vulnerable to the same factors, and some people just won't buy into the premise needed to start from. The premise in this instance, for example, would not work for a person with a fair level of knowledge on police work or the law. While it makes it harder to identify with the characters, that specific lack of knowledge isn't equal to stupidity. It's just one of endless gateways through which these struggles can arrive. And history as much as science has shown that noone should believe that their guard to their morals is impenetrable.

I thought it was a very interesting take on a classic phenomenon, and I certainly came to belive that it did very well to analyze the events that the movie is based on, and portray them in this movie. [7.5/10]

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04-28-2013, 10:35 PM
  #173
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All those reviews and people that say they just couldn't believe the film because it seems too far fetched and not believable are ridiculous. The events in Compliance really did happen so there should go the disbelief. I thought it was a fantastic movie and would have been happy if Ann Dowd got an Oscar nom. You can find the uncensored videos of the actual event online if you try hard enough and they are just a surreal and disturbing.

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04-29-2013, 12:24 AM
  #174
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Room 237 (2013), directed by Rodney Ascher: This documentary is wholly devoted to a broad collection of crackpot theories about what really is going on in Stanley Kubrick's seminal horror movie, The Shining. A couple of the explanations related to how Kubrick might be messing with our minds might give a normal person pause for thought for a second or two, but then one quickly moves on with life. Not the folks in this film who are, collectively, wingnuts of the highest (lowest?) order. Maybe I just have a limited tolerance for crackpots because I did not find this long parade of wild interpretations about the hidden messages evident in The Shining thought provoking for very long. Rather it began to feel that I was trapped in a room full of crazy people, all of whom had an absolutely certain, totally goofy interpretation of what Kubrick intended. One theorist even attempted to demonstrate the movie's secret significance by suggesting that it should be played backwards, ala the Beatles' I Am the Walrus, I suppose. The only thing the movie convinced me of is that there are a lot of seriously weird people out there. I knew that already, but this documentary really reinforced that notion something fierce.


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04-29-2013, 08:09 AM
  #175
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Wrong Turn 2 (2007)

Working on the series. Obviously not supposed to be a top of the line type of horror, none of the movies in the series are. For what they are, they are good movies (so far). Second one is a bit better than the first one, more likable characters, better story than the first. 7.5/10 (for the type of movie it is)

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