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Film What's the Last Film You Saw? v. Tell Us What You Thought!

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Okay so this is my last post about Blade Runner.

I love the titles PKD comes up with.

"Do Androids Dream of Electric Sheep?" - It's a story in itself... "We Can Remember It For You Wholesale" - so much more meaning than Total Recall... It's such a shame that the second film not only sucked but also lacked the balls to use a different title than Verhoeven's masterpiece.

How about "Flow My Tears, the Policeman Said" for a title?
Or, "The Man Who's Teeth Were All Exactly Alike"
"The Three Stigmata of Palmer Eldritch"
(perhaps my favourite novel of all time)
Or, "Oh, to Be a Blobel!"

I want to see an adaptation of Androids that is titled Androids and at least attempts to follow the source material.

I would feel differently if I really liked Blade Runner I suppose, but I don't.

hydroazuanacaine said:
watched that last halloween. generous indeed. young christina ricci (in the white dress) is all Casper has going for it.
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It was a perfect combination of nostalgia and so bad it's good with enough parts that are actually good to keep me from hating myself.

Watching it with a two year old helps.
 
I'm watching a lot of films cause I had to have a colonoscopy so I'm stuck in the house more than usual, even with this lockdown bullshit. I'm sorry for spamming this thread with my reviews. Some of my posts have been during bowel prep, when I'm running to the toilet every 10 minutes to shit brown water like a fire hose. Other posts, like this one, are post-colonoscopy. I can drink beer and eat potato chips now. So, I'm much more tolerant of bullshit.

Lapsis (2020)

Lapsis is about Lapsis Beeftech, but don't say that name out loud or the cablers will fuck you. This film is weird with a capital W. It is as weird as Cronenberg without the creepy effects. Dean Imperial does a great job as the quasi-mobster guy that used to work in waste management and, now, just wants to fund his brother's healthcare.

The film lags in the middle a bit, but the intense lead performance combined with the clever sound editing and the bizarre, unique concept make Lapsis worthwhile.

It's the sort of film that doesn't get through studios. This isn't a misunderstood indie that should have been given a 100 million budget. This film is fucking weird. It is indie and it is proud.

I disagree with the (leftist) politics, but that doesn't prevent me from appreciating art for art.

7.5/10
(Casper gets demoted to a still generous 5/10)
 
birdup.snaildown said:
Harrison Ford described Deckard as boring and he's not wrong.
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Yeahhh... Ford isn't really a good actor even. He's a pretty boy from a by-gone era in essence. I enjoy most everything he's been in (sans the latest Star Wars... ugh) but he's not great at conveying emotions. Rutger Hauer was the real gem of acting in BR, the fact that he didn't win best supporting actor in the '83 Oscars to me says just how fucked the Academy Awards really are; sometimes they pick the right winners, most times though it's sympathy votes, and that goes all the way back to the inception of the awards. I mean, Louis Gossett Jr. won that year; Rutger Hauer didn't even get nominated... and An Officer and a Gentleman was honestly just a subpar film entirely, yet it had nominations out the ass. I can't believe people still tout it as a classic to this day.

And they gave the Art Direction win to Gandhi (1982)?!? Are you kidding me? Did these people even see Blade Runner??? Vangelis wasn't even nominated for best original score?!? I mean I love John Williams but the E.T. soundtrack had NOTHING on Vangelis' work for BR. E.T. won out over Blade Runner and Poltergeist for Visual Effects? Are you kidding me?!

In fact Gandhi swept the '83 Oscars, including a best picture win... and I've never even heard of, nor seen the film. Yet I can guarantee you it was a complete and total sympathy vote. It was probably well done, yata-yata, but it's just a biopic film... hardly worthy of such critical acclaim.

My wife always grumbles when I start bitching about Oscar winners, but I can't help it... why don't they usually pick the right winners!?

I realize the theatrical cut was significantly blunted and dumbed down for audiences, completely devoid of what Ridley Scott was trying to achieve (voice overs, 'happy ending', etc.) Nonetheless this was 1982... when the competition was THAT weak, I mean... wtf Oscar voters?

birdup.snaildown said:
I would feel differently if I really liked Blade Runner I suppose, but I don't.
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I've never actually bothered to read any of PKD's works to be frank :( Like you I almost always see films before I read the material they're adapted from. So for me, having watched the 'Director's Cut' several times in my child/teenagerhood then again as an adult many more times on acid, I started to notice soooo much detail to it. I have no frame of reference to say, "That was a shit adaptation." I just really enjoy the sound, the music, the visuals, and the general existential questioning that the film embodies.

I loved the way Kubrick so eloquently preserved the language in A Clockwork Orange. Reading the book was too much and I put it down too early but the film I'm fairly convinced is the only 11/10 film in existence. It addresses the very heart of humanity in a way that nothing else ever has on screen. How do you address violent human nature, how do you force people to be good? We can't really answer these questions, but the film shows us every angle of humanity's attempts, and how they've failed at every turn.


Okay, I've derailed this thread enough. Sorry guys :rolleyes:
 
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Rewatched: Requiem for a Dream (2000) - 5 stars - Why do I love this film so much when it is one of the most emotionally devastating movies ever made? This film follows four people in Coney Island as they slowly slide further into their addictions with tragic consequences. It focuses mainly on Harry and his mother Sara. Harry, his best friend Tyrone and his girlfriend Marion are bored twenty-somethings who casually use various drugs. They find some very high quality Heroin and decide to buy an ounce, cut it and make a profit. They continue to do this, making more and more money to follow their dreams: Harry wants to "be somebody" and sort his life out. Tyrone just wants to be successful and do what would make his (deceased) mother proud of him. He remembers as a boy telling her he was gonna "make it" and she told him "you don't have to make anything, you just have to love your mother". Marion is into fashion and wants to open her own clothing boutique. As they start using more and more of the product themselves, their lives rapidly spiral downwards, taking them to dark places they never could have imagined.
Meanwhile, the other half of the focus is on Harry's mother, Sara. She lives in an old apartment, alone. She is in her 60s and very lonely, her husband being dead and her son being an addict who often pawns her beloved TV for money.
When we start off her addictions are actually TV and food. One day she gets a scam call telling her she has been pre-chosen to be on a game show. She gets an application and sends it off. Meanwhile she wants to lose weight to fit into a red dress her husband told her she was beautiful in to wear on the TV, but she has gained probably 40lbs since she could fit into it. She tries a crash diet and her friend tells her of a doctor who "gives you these pills and you don't wanna eat!". She decides to go and is prescribed various doses of amphetamine sulphate pills to take three times a day instead of meals and a barbiturate to knock her out at night (she is very naïve and does not know what she is taking or the consequences). I don't wanna give much away about her storyline but it is one of the saddest of any character ever.

Top Quotes:

Sara Goldfarb: This isn't happening. And even if it was happening, it would alright. In the end everything's alright.

Marion: I love you, Harry. You make me feel like a person.

Sara Goldfarb: I'm gonna be on television! (repeated)

Sara: You drove up in a cab. Did you see who had the best seat? I'm somebody now, Harry. Everybody likes me. Soon, millions of people will see me and they'll all like me. I'll tell them about you, your father, how good he was to us...remember? It's a reason to get up in the morning. To lose weight. To fit in the red dress. It's a reason to smile. It makes tomorrow alright.
What have I got, Harry? Hmm? Why should I even make the bed, or do the dishes? I do them - but why should I? I'm alone. You're gone, your father's gone. I've got nobody to care for.
[crying] What have I got, Harry? I'm lonely...I'm old.
[in reference to her pills]...I like the way I feel. I like thinking about the red dress and television and you and your father. Now when I get the sun, I smile.


[Sara audible grinding her teeth]
Harry: Hey, Ma, you on uppers?
Sara: Hmm?
Harry: You're on uppers! You're on diet pills, aintcha?
Sara: I told you, I'm going to a specialist
Harry: That's what I thought. You're making a croaker for speed!
Sara: Harry, are you all right? I'm going to a doctor!
Harry: What does he give you, Ma, huh? Does he give you pills?
Sara: Of course he gives me pills, he's a doctor.
Harry: What kind of pill?
Sara: A purple one, a blue one, an orange -
Harry: I mean what's in 'em?
Sara: How should I know? I'm Sara Goldfarb, not Albert Einstein. How should I know?
Harry: Do the pills make you feel good, sorta. Give you lots of pep?
Sara: Yeah, well, a little
Harry: A little?! Ma I can hear you grinding your teeth from over here!
Sara: Well, that goes away at night
Harry: At night?
Sara: Yeah, when I take the green one. Thirty minutes I'm asleep. POOF! Just like that
Harry: Ma, you gotta cut that stuff loose. It's no good.
Sara: Tell me, how should you know more than a doctor? He's a nice doctor! 25lbs I've lost!
Harry: [sadly] Believe me, Ma, I know...
 
I liked the original Sniper (1993) with Tom Berenger as the old master teaching a young Billy Zane. Didn't care too much for the Berenger only sequel, Sniper 2 (2002). Never even tried to watch the third, Sniper 3 (2004). I mean, there is the mystique of a sniper, and Berenger-Zane was decent chemistry, but they were milking it with just Berenger.

Checking into Netflix for the first time in a long time, I found Sniper: Legacy (2014), also with only Berenger but they are introducing an estranged son played by Chad Michael Collins. Plot is meh, and you can tell they are setting up CMC to carry the torch and continue the series, but it's an ok ride. There are a few other actors that have come and gone thru the series, most hold up well in their roles even if they haven't been in all the films. There's a decent amount of sniper work for the common man, a little action but nothing tremendous, and a somewhat thin plot to follow (an ex sniper is hunting down those from his old team). Even the father-son angle isn't used much other than to note the son is following the father's footsteps without really knowing him. We don't address any missing daddy issues, or try to rebuild bonds that were long abandoned, it's mostly just to give the film title some grounding and introduce the next actor. 4/10.

This led me to Sniper: Ghost Shooter (2016) where we drop Beringer, pick Zane back up to pair with the son CMC, and bring a handful of the supporting cast back as well. We again rely on a backdrop of Eastern European turmoil, our sniper team is contracted out to protect a pipeline that the evil Russians wish to cancel. The hook here is the Russian sniper seems to know exact locations for our team, so who is the rat? 7th graders could predict the story line, but still be drawn in by the execution. Adults, sadly, are not entertained all that much. Chemistry is a little better among the actors, but nothing stellar. 5/10.

Now I see Sniper: Ultimate Kill (2017) is out there, bringing the father, the son, and the Billy Zane together. Will I watch it? Probably, as I have no taste in films.
 
Super Me (2019) <Netflix>

Chinese film out of Hong Kong, so the effects and image quality are top notch. Film starts out with a young man (mid 20's?) who is a struggling screen writer....an insomniac, basically broke, hiding from his landlord, harassed by his agent about the advance and no script, getting lost ogling an old HS girl he liked who is working local, and essentially starving. The wrinkle to his story comes early, in that there is a large blue demon materializing around him, apparently trying to kill him. Is the demon real? Is it a delusion from his insomnia? It must be somewhat real, as he suffers cuts from the attacks. He happens upon an old man who advises him to recognize when he is dreaming like this and simply say "I am dreaming" to wake from the dream. He tries it, and it works, but surprisingly he brings back from his dream an object that he was holding in the fight. It's an artifact he is able to sell to collectors, and makes some money. He does this a few more times, gaining more money but also gaining confidence, and eventually control over this dream world and the blue demon. With the confidence, and riches, he begins changing his life and that of those around him. As he is growing with this new power, we have clips sprinkled in of him hearing from lectures and experts, many of whom allude to dreams and alternate lives, a touch of the Chinese mythical view of life. We reach a point late in the film of having gotten the girl, attained ultimate wealth, and then the illegal art collectors come for him to steal his wealth and understand his secret. Unfortunately, this is where I had to pause for a few days, so coming back I found the last 20min to be something of a whirlwind of images, thoughts, sequences, overlapping meanings as if this were to combine the Chinese views and the modern Id-Ego-SuperEgo roles as they swirl around him stripping away who he believes himself to be vs who he may indeed be. I say 'unfortunate' because my pause and return left me somewhat bewildered and unable to convey to you if this was well done to close out the film or not, I simply can't say. I will say the journey was visually tasteful, and the actors well cast; I watched in native Chinese with English subs and it was good, not great. With that, I'll give you a 7/10 and hope you make it thru in one shot, don't pause like I did.
 


Wasn’t fussed on this one. Fell asleep toward the end which didn’t please the wife lol.

2/5 of what I can remember of it.
 
Last few movies i saw was:

Occupation Rainfall 7/10
Wrath of man 9/10
Angels fallen 6/10
Army of the Dead 7/10
Conjuring: the devil made me do it 8/10
Edge of the World 8/10
Brahms the boy 2 7/10
Awake 7/10
Godzilla vs King Kong 9/10 (mostly for the special effects)
Nobody 9/10 ( brilliant movie and story line plus a good actor chosen for this type of movie )
Spiral from the book of saw 9/10 ( just love the whole saw franchise, never been disappointed )

yeah that's it so far and have a few more on y list to watch in my insomnia times lol

Plus also following a few new series

Godfather of Harlem
Clarice
The Irregulars
 
Damn, this thread really shows just how subjective film enjoyment is.

I rewatched for the umpteenth time The Perks of Being a Wallflower last night when I couldn't sleep. Classic coming of age flick, I relate to it farrrr too well though so I cried a lot.

8/10
 
I watched all the following films at least one month ago or longer, so I won't be reviewing them, simply rating them:

Black '47 - 7.5/10
Crimson Peak - 6/10
Bottle Rocket - 7.8/10
Wonder Wheel - 3.5/10
Crisis: In Six Scenes - 7/10
Magic in the Moonlight - 7/10
Cul-de-Sac - 7.5/10
Scarface - 7.3/10
What's Eating at Gilbert Grape - 8/10
Somewhere - 6.8/10

Most were pretty enjoyable, save for Wonder Wheel which was a pretty sorry output, even for late Woody Allen stuff.
 
hydroazuanacaine said:
Bottle Rocket is in my top three of all time.

you like Somewhere. i want to. so bad. even bought it.
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Bottle Rocket was good (really loved the soundtrack choices), but I felt it was one of Wes Anderson's weaker outputs. I feel that way about most directorial debuts though. Kubrick's earlier works were very 'meh' for the most part, yet he went on to become (to me) the best director of all time by leaps and bounds. I see Bottle Rocket as W. Anderson learning the ropes, Rushmore was where he really hit his stride imo.

Somewhere felt a lot like Lost in Translation, and in that way I enjoyed it. It wasn't nearly as good, but still enjoyable to me. I can totally see why people hated it though, it was a rather pointless film.
 
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Space Sweepers (2021) does amazing things with 20 million dollars. If this was a US film it'd cost 100 million. Unfortunately, it has serious problems. I like a lot of South Korean films. Sometimes it's easier to like foreign films. I don't think Parasite would have won the Oscar if it was an identical film in English. I think people tend to be more forgiving of the acting when they don't know the language.

I'm used to plot holes / contrivances in Hollywood, but this flick takes the cake.

At one point Kot-nim (a little girl with magical powers) is falling to her death and Tiger Park (yes that is seriously the character's name) impossibly appears literally out of nowhere swinging on something (a wire?) and he catches her in mid air. Then, in a split second, they both appear back in the ship with no explanation.

The protagonist's back story is fucking mental. We discover that he was once a soldier who gunned down innocent women and children for money. Then - one day - after murdering a room full of people, he finds a baby and decides to raise the girl as his own. The child is deaf from the sound of the gunshot that killed her mother. They explain all of this in a brief flashback, then it's back to the film.

There's a slapstick scene where he stands on a bucket shortly afterwards.

I watched it till the end, but it took two attempts to get through it. I liked the robot - Bubs - and the insanely over-the-top villain. It's definitely a so-bad-it's-good sorta film.

The captain of the Victory Crew, Captain Jang, wears dark sunglasses in space. The film's attempt to make her cool is about as subtle as a uniformed narc at a rave.

This film has 64/100 on Metacritic because it's Korean.

I give it 3.5/10.
 
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