Movie What's the last movie you saw? (7)

[Cuzz09]

Fuvken he'll bringing him back 28 years later.

lol he was pretty funny

 

[PowerfulPies2023]

new one. *spoiler...













also with ice cube

That looks terrible lol. I notice that fat guy is from I still know what you did last summer 1998. And another guy off Joy Ride and other movies. You trolled me with ice cube!

 

[crafty_bernardo]

Starting with Harry Potter Chamber of Secrets rewatch because mid year I rewatched Philosopher stone in an attempt to do a marathon. But that went sideways lol.

There's a never ending watch list that every day just gets piled on!

 

[Cuzz09]

That looks terrible lol. I notice that fat guy is from I still know what you did last summer 1998. And another guy off Joy Ride and other movies. You trolled me with ice cube!

it was alright.

 

[brutus76]

ANACONDA with Jack Black and Paul Rudd. Clever and bloody funny with a lot of 90s throwbacks. If you loved the new Naked Gun (which had similar tones) you'll enjoy this. The 99 minutes flies by.

 

[Hoos]

Reservoir Dogs is on my next to watch. Is it any good or is it shit?

It is brilliant.

 

[No eye deer]

Train Dreams.
Enjoyed it. Great cinematography. I really would love to travel through the States and see all that beauty.

And the Nick Cave song during the credits…
Joel- “Hey Nick, do you think you could write a song for my new movie?”
Nick- “Yeah sure, why not?”
And he comes out with this? Just ****ing wow!

 

[Financialpanther]

The Conjuring - Last Rites

Had three goes at watching this - a whole lot of meh and a thoroughly unwarranted movie. Really should have finished at number 2.

Going through the motions - 3/10

 

[SnakeMan86]

All star cast. Even that fat campaigner from best of the best who played Travis Brickley. God bless his soul. Now deceased.

You get a like for a "Best of the best" reference

 

[joey_jo_jo]

You get a like for a "Best of the best" reference

Lol I watched Best of the Best 3 in a hotel while I was on holiday in Vietnam last year (couldnt go to sleep and there was no other English language shows on).
So wild, tommy winds up in a small southern town and single handedly defeats a white supremacist militia with his bare hands (they are armed with semi-automatics and tanks).

 

[PowerfulPies2023]

Lol I watched Best of the Best 3 in a hotel while I was on holiday in Vietnam last year (couldnt go to sleep and there was no other English language shows on).
So wild, tommy winds up in a small southern town and single handedly defeats a white supremacist militia with his bare hands (they are armed with semi-automatics and tanks).

I made a thread about movies that should have ended after 1,2 etc. This was one of them I listed. The first was good. The rest were terrible.

 

[PowerfulPies2023]

They even made several No Retreat No Surrenders. Idiots. Had nothing to do with the first one. Like Best of th best it was about guns and army's lol.

 

[AFDogs]

The Luckiest Man in America

They forgot to make the movie interesting. There were a couple okay moments and the movie ‘looks’ nice. Paul Walter Hauser is just awful though. Lost interest towards the end.

5/10

 

[PowerfulPies2023]

The Luckiest Man in America

They forgot to make the movie interesting. There were a couple okay moments and the movie ‘looks’ nice. Paul Walter Hauser is just awful though. Lost interest towards the end.

5/10

Good in that movie about the Atlanta games bombing. That was a good flick.

 

[PowerfulPies2023]

I recommend Kompromat a good flick where the Russia's FSB set up a French diplomat.

 

[Knees of Ben Allan]

It's just me and my six year old home this afternoon so we decided to watch a movie from when I was a kid. I pulled up a few movie posters to show him and he settled on Beethoven - the one about the giant dog.

He absolutely loved it but was really moved by it. He had a few tears when the dogs escaped from the van but got separated, and was very stressed at the idea of the dogs being hurt. He thought it was hilarious when the evil vet got bitten on the weiner though.

Overall it was a good movie to watch together. He rated it 60/10. I gave it a 7.

I always enjoy hearing about people watching films with their kids. It’s very much what I hope to have within my future, when my beautiful son is receptive to this. I took him into a session of Petite Maman when he was a flour bag, as it was an empty session. However, a lady came in 15 minutes into it and I felt he was stirring too much to persist with this.

Since then, within the home we have curated the good (eg Toy Story 1-3, Up) with the not so good (eg movie length releases by Paw Patrol & Octonauts, Toy Story 4) to break the tedium of animated vignettes that sausage out of the streaming mills. I put the feelers out in the Christmas break, by exposing him to the Robert Altman version of Popeye (1980).



I hadn’t seen this since I was about 5, when it was the Telethon movie and remember being somewhat perplexed on the Lino floor, all car pyjamas, Smiths original crumbs and stilted inner monologue by the time that the credits rolled.

In the ensuing years, this befuddlement had grown within me. I think one of the first vinyl I purchased from overseas (Germany, of course), was the soundtrack of this film. I had been reintroduced to the Shelley Duvall sung, Nilsson composed, Van Dyke Parks arranged (For the anoraks: Jon Brion may have altered some of the arrangements for his purposes, here) “He Needs Me”, when it was the central motif in Punch Drunk Love.

Nilsson, Parks and Duvall would become figures of much appreciation for me over time. And Altman, too. He was a fascinating character, as some of his films could be so effective, pioneering and unique (ie 3 Women, Nashville), or in-turn, wildly uneven (Health, Quintet). And sometimes all of these characteristics could happen simultaneously within the realm of a more appreciated film, such as MASH, McCabe and Mrs Miller or Brewster McCloud. Personally speaking, this is part of the enjoyment of his catalogue, as whilst some of his films have dated in being conduits of the zeitgeist, they’re never dull and their imperfections, despite helping to destroy New Hollywood privileges, are testament to the director being allowed to take risks and not having to make films with accountants, for better or worse. The lows allow the highs.

The backstory to Popeye makes for an interesting one, too. Essentially, a nose hungry cast runs out of nose food, so Paramount boss, Robert Evans, allegedly, has a fixer arrange for the CIA to green light a Cessna to bring supplies from the US to the Malta set, so a ravenous set wouldn’t be hungry anymore. Predictably, this lead to problems with productivity and decision making.

As to the film itself? Well it still is perplexing! My lil boy, before turning in for the night, also seemed to be a bit perplexed by the vision and sound in front of him, also. But it is also quite wonderful for much of the time. It makes for a dazzling, appropriately cartoony experience. The movie’s main star is the distended, lurid town set (Preserved as a tourist feature on an island off of Malta. I’d love to go there one day.), which acts as a wobbly counterpoint to staccato riffs of dialogue lifted from the pages of the comic strip and the dated frames of the cartoon. Robin Williams makes for a pretty rad Popeye, full of non-sensical mumbling and twitching physicality. And Shelley Duvall, too, lends much to Olive Oyl, in her skinny, neuroses laden, yet comedic, rendering (God, I find her ring worthy in these 70’s films. All women are beautiful, but there is something about Shelley Duvall, that just, well, you know?! She’s quirky talent personified).

The laughs come steady, be it sublime or broad of origin, most of the post-peak Nilsson songs hit strong (there is some bloat, particularly with songs delivered by, funnily enough, Bluto/Brutus) and much of the Altman party tricks exist here (actor ad-libbing and multi-track conversations). It certainly does suffer to some incoherent story telling. There was a simpler path not taken here, leading to some meandering that bites into the dynamism of the film.

But why was this film even made? And for whom? Popeye was a comic strip, later cartoon, which had been out of vogue for some period, by the time Paramount decided to bankroll this. I guess you could argue that this, in hindsight, may have been born out of that same reflex where Americans, in the face of the disappointment that was the 1970’s (economic issues as a result of oil crisis, Vietnam War, Nixon era, fatigue of social divide and the general malaise when the gains of 60s progressive politics, seemingly mounted to nothing), were misty-eyed for a return to the post-war past of the 50’s, (I am open to the persuasion of conservative voices spruiking the 1950’s as some pre-pill Shangri-La to recalibrate both moral and philosophical compass, playing some large part in this) be it artifice or actuality, where they remembered a happiness, a simplicity, that may, or may not, have truly existed. The movie/TV world leant into this act; The Last Picture Show, American Graffiti, Grease, Happy Days etc.

But, if this is indeed the case here, wouldn’t somebody more conventional be a surer pair of hands to find a more family audience with this vehicle? Who was the audience for this? The end result is too arch, too post-modern, too knowing, too odd to sell to the popcorn crowd. And this is the predictable outcome, with the genesis of production and with the parties employed to make this into a reality.

All to say, I enjoyed this baffling time capsule, for what it is and isn’t. The ending, however, is a real letdown; a product of exhaustion and the pragmatic compromises that come about when the decimals stop being wired.

Regarding Beethoven, I have always loved Charles Grodin, in general, but here, too! That cantankerous, tired, deadpan energy (occasionally intersected by unexpected warmth) that he tends to bring, is cool here. And Dean Jones (not the, but the), whom I remembered primarily as smooth occupant in OG Herbie movies, makes for a great ham as the villainous vet, disguised in those ridiculous coke-bottle glasses.



Regarding the suitability of this film with small children, I remember some scenes between vet and Beethoven that might upset my boy, so I should investigate previous to a viewing as to whether this would trouble him now. Thanks for the reminder!

 

[JackOutback]

Avatar:Fire and Ash… at this point, James Cameron is basically making the same movie over and over again. And they are over three hours. It’s a first world problem to say we’ve become so accustomed to this admittedly amazing technology but we have, so all the lingering shots meant to show it off are now unnecessary. It’s time to focus on telling a new story. Anyways, despite being nearly three-and-a-half hours, it largely hangs together and mostly didn’t bore me, so that’s something. Some of the action is quite good, there’s a few fine moments, but it’s just a movie that washes over you and you will probably forget. 6/10

 

[Kirby]

Wake Up Dead Man

Yeah I’m another fan. These movies are a great ride. 8/10

 

[crafty_bernardo]

Jim's early work of Alien, Terminator 1 and 2 etc; absolutely goated. It's a shame he's stuck on his passion project for approaching two decades.

Speaking of. Finished Prisoner of Azkaban and Goblet of Fire and it's just dawned on me these have also since been a decade since released. As an adult I enjoy these much more then as a teen where I grew up on the books so it seemed just more of an add on than anything special. It's sad seeing all the actors and knowing their gone too.

I'm sure the new series will do well but highly doubt they can capture the magic of the first.

 

[squashface]

Watched a few in the last week or so while off work.

Train Dreams
Like watching a poem. Edgerton's finest work imo. 9/10

Avatar: Fire and Ash
Technically brilliant I guess but like the other two I couldn't tell you what happened immediately after watching it. Saw it in 3D too and that kind of ruined it for me. Vibrant colours and crisp effects are dimmed by 3D. 5/10

One Battle After Another
Awesome clever movie. Man crashes out after forgetting his password - the movie. Sean Penn cracked me up and Chase Infiniti has a big future ahead of her. 8/10

The Shining
This was an odd one because technically I had never seen it but it is so prevalent in pop culture that I knew everything that happened so it felt like I had seen it. I don't really know how to rate it because of that. ?/10

 

[MrsEddieBetts]

All these reviews really make me wanna watch Train Dreams asap.

 

[MrsEddieBetts]

I always enjoy hearing about people watching films with their kids. It’s very much what I hope to have within my future, when my beautiful son is receptive to this. I took him into a session of Petite Maman when he was a flour bag, as it was an empty session. However, a lady came in 15 minutes into it and I felt he was stirring too much to persist with this.

Since then, within the home we have curated the good (eg Toy Story 1-3, Up) with the not so good (eg movie length releases by Paw Patrol & Octonauts, Toy Story 4) to break the tedium of animated vignettes that sausage out of the streaming mills. I put the feelers out in the Christmas break, by exposing him to the Robert Altman version of Popeye (1980).

View attachment 2502921

I hadn’t seen this since I was about 5, when it was the Telethon movie and remember being somewhat perplexed on the Lino floor, all car pyjamas, Smiths original crumbs and stilted inner monologue by the time that the credits rolled.

In the ensuing years, this befuddlement had grown within me. I think one of the first vinyl I purchased from overseas (Germany, of course), was the soundtrack of this film. I had been reintroduced to the Shelley Duvall sung, Nilsson composed, Van Dyke Parks arranged (For the anoraks: Jon Brion may have altered some of the arrangements for his purposes, here) “He Needs Me”, when it was the central motif in Punch Drunk Love.

Nilsson, Parks and Duvall would become figures of much appreciation for me over time. And Altman, too. He was a fascinating character, as some of his films could be so effective, pioneering and unique (ie 3 Women, Nashville), or in-turn, wildly uneven (Health, Quintet). And sometimes all of these characteristics could happen simultaneously within the realm of a more appreciated film, such as MASH, McCabe and Mrs Miller or Brewster McCloud. Personally speaking, this is part of the enjoyment of his catalogue, as whilst some of his films have dated in being conduits of the zeitgeist, they’re never dull and their imperfections, despite helping to destroy New Hollywood privileges, are testament to the director being allowed to take risks and not having to make films with accountants, for better or worse. The lows allow the highs.

The backstory to Popeye makes for an interesting one, too. Essentially, a nose hungry cast runs out of nose food, so Paramount boss, Robert Evans, allegedly, has a fixer arrange for the CIA to green light a Cessna to bring supplies from the US to the Malta set, so a ravenous set wouldn’t be hungry anymore. Predictably, this lead to problems with productivity and decision making.

As to the film itself? Well it still is perplexing! My lil boy, before turning in for the night, also seemed to be a bit perplexed by the vision and sound in front of him, also. But it is also quite wonderful for much of the time. It makes for a dazzling, appropriately cartoony experience. The movie’s main star is the distended, lurid town set (Preserved as a tourist feature on an island off of Malta. I’d love to go there one day.), which acts as a wobbly counterpoint to staccato riffs of dialogue lifted from the pages of the comic strip and the dated frames of the cartoon. Robin Williams makes for a pretty rad Popeye, full of non-sensical mumbling and twitching physicality. And Shelley Duvall, too, lends much to Olive Oyl, in her skinny, neuroses laden, yet comedic, rendering (God, I find her ring worthy in these 70’s films. All women are beautiful, but there is something about Shelley Duvall, that just, well, you know?! She’s quirky talent personified).

The laughs come steady, be it sublime or broad of origin, most of the post-peak Nilsson songs hit strong (there is some bloat, particularly with songs delivered by, funnily enough, Bluto/Brutus) and much of the Altman party tricks exist here (actor ad-libbing and multi-track conversations). It certainly does suffer to some incoherent story telling. There was a simpler path not taken here, leading to some meandering that bites into the dynamism of the film.

But why was this film even made? And for whom? Popeye was a comic strip, later cartoon, which had been out of vogue for some period, by the time Paramount decided to bankroll this. I guess you could argue that this, in hindsight, may have been born out of that same reflex where Americans, in the face of the disappointment that was the 1970’s (economic issues as a result of oil crisis, Vietnam War, Nixon era, fatigue of social divide and the general malaise when the gains of 60s progressive politics, seemingly mounted to nothing), were misty-eyed for a return to the post-war past of the 50’s, (I am open to the persuasion of conservative voices spruiking the 1950’s as some pre-pill Shangri-La to recalibrate both moral and philosophical compass, playing some large part in this) be it artifice or actuality, where they remembered a happiness, a simplicity, that may, or may not, have truly existed. The movie/TV world leant into this act; The Last Picture Show, American Graffiti, Grease, Happy Days etc.

But, if this is indeed the case here, wouldn’t somebody more conventional be a surer pair of hands to find a more family audience with this vehicle? Who was the audience for this? The end result is too arch, too post-modern, too knowing, too odd to sell to the popcorn crowd. And this is the predictable outcome, with the genesis of production and with the parties employed to make this into a reality.

All to say, I enjoyed this baffling time capsule, for what it is and isn’t. The ending, however, is a real letdown; a product of exhaustion and the pragmatic compromises that come about when the decimals stop being wired.

Regarding Beethoven, I have always loved Charles Grodin, in general, but here, too! That cantankerous, tired, deadpan energy (occasionally intersected by unexpected warmth) that he tends to bring, is cool here. And Dean Jones (not the, but the), whom I remembered primarily as smooth occupant in OG Herbie movies, makes for a great ham as the villainous vet, disguised in those ridiculous coke-bottle glasses.

View attachment 2502923

Regarding the suitability of this film with small children, I remember some scenes between vet and Beethoven that might upset my boy, so I should investigate previous to a viewing as to whether this would trouble him now. Thanks for the reminder!

How old is your son? I've had great success with Sandlot Kids and Little Rascals too - my two are 6 and 8. They're a bit softer than I was as a kid so haven't pushed their boundaries too far yet...really wanna take at least my eldest to the anniversary screening of The Labyrinth next year.

 

[squashface]

All these reviews really make me wanna watch Train Dreams asap.

 

[AFDogs]

Good in that movie about the Atlanta games bombing. That was a good flick.

I think that was the only time I liked him in something.

 

[Hoos]

The Shining
This was an odd one because technically I had never seen it but it is so prevalent in pop culture that I knew everything that happened so it felt like I had seen it. I don't really know how to rate it because of that. ?/10

Just rate it how you feel about it. It doesn't matter whether or not you knew a lot of what happened anyway. Rate it how you think and feel about it when you actually watched it.