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Movie nights every Friday at https://cytu.be/r/OverlookTheater

TV nights every Wednesday at https://cytu.be/r/ZZZTV

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Movies, TV shows, Cartoon/Animes, Documentaries. Everything goes.
I just watched Blade Runner 2049 yesterday. It was pretty fucking good.
I've also been watching Ken Burns The Vietnam War and will start to watch Initial D later.
>>126 (OP) 
What are you a weeb....
I've been watching some Serial Experimental Lain, I still don't understand what's going on, and also watching the new Dragon Quest anime it's pretty good too bad it doesn't have that god-like OP we used to have in the arabic version, and for documentaries I always start watching Empire of Dust but I sleep half-way through it, it's not bad but I always pick a bad time to watch it
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>>126 (OP) 
Hardly anything he does registers to me as expressive, it's like the ANTI-THESIS of expression to me, unless expression means having layers of differing lights. It's effectively just a series of colors and lights with no meaning, and I think it's representative of the commercialization on post-meaning. That's probably why it resonates with people because they can see the meaninglessness in his stuff and get stimulated by it. Here Blade Runner has a bunch of basic off-center and sporadically placed entities in a frame with no center just like a Marienbad shot, but the thing about it is this lack of any artistic integrity beyond just technically serving the compositions.

Yes, I see the behind the scenes for blade runner having the ring light, and yes I see all the colors in blade runner, but it's honestly a match made-in-heaven in a negative/postive way for that movie since it's about the banality and loss of life sense, loss of life essence in future noir setting, and it's adapted from being japan-run in old Blade Runner 80s, to being like a bunch of cheap-ass paper-thin architecture like new apartments they build nowadays. It's all very cheap and fake-modernist looking just like a whole bunch of the state of architecture and fashion today. The scene where Ryan is in the archive room with the yellow lighting and all the drawers have like fake woodgrain is clearly a conscious decision and fits along with the fake modernism of Deakins' photography, but there's no essence, there's no person behind the technique. It's just technique. I'm struggling to even describe it right now, but I can make a second review working out my deeper thoughts on this movie.

The only notable shot I remember from here that stands out is this one because the way the light bounces off the wall with no visible window. Background is just no light. Not impressive.
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It's interesting how looking at all these latest cinematographers, their aspects are mainly about what subtle accentuations to the gradation of the photography are changed between. Like this Hoytema guy is very reminiscent of a lot of indie stuff and it's almost nigh impossible to tell the difference amongst all of them because of perhaps how the cameras just are today or perhaps like how scores for movies are subdued now mainly versus long long ago. To me I see it that all these new digital cinematographers that propped up since pretty much Deakins where Brother Art Thou and the sudden wave of DSLR's and stuff in 2010's, that they took kind of the rote way of how to shoot things with the same mid eye-level shots and also sticking late day hazy, kinda evening indoors look for everything or either blueish daytime look with hardly any sun and the main distinction ends up being picking up the rich parts to the gradation, the gradients of brown.

Something like pic related. All brown and dark tinted, very low lighting 'cause that's how digital supposedly shines best with is being more lightly lighted, not heavily lighted like old ways. And I'm pointing out a shot like that there because I can tell that that look there is something a buncha filmbuffs would go gaga over but it's nigh indistinguishable from a lot of the trends in that look throughout the 2010's. Perhaps though he set that up being the norm since that screenshot is from 2011 on the dot.
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I see looking at screenshots from this movie that indie guys MAYBE intended to MIMIC this guy's look, 'cause you see this type of look all OVER indies and eventually spread to taking over all serious Hollywood movies moving forward. John Wick has that same gradient 'cept it's just not lit brown, lit with purple. But it still has that same look.

I think that's probably REALLY why a movie like The Master sticks out in people's recent minds. Because in trying to mimic Kubrick's structuralist frames (structuralist frames are frames like that Master sea shot with Joaquin layed down), he separates from the rest of everybody else that's mega into just being basic mid-shots with no real sense of composition or meaning. Mid-shots and closeups became the norm ever since the 90s, particularly when the aspect ration solidified into 2:35:1 as opposed to 1:88:1. When it got into the 235 things got very very squeezed and that shot of Keanu and above is what became the norm. It's something I just especially notice. It's ALMOST a type of photography that irritates me because it just wasn't the case at all before, cinematographers, directors were so much more creative before. I don't really know how to describe the types of these shots cause they're not designed with any meaning, it's just merely what became the standardized way to shoot in Hollywood moving forward into the 2010's. Then for comedies everything is fairly wide and basic 2-shot, characters sitting next to one another in the same frame, not against, but to the side of one another.

I'd say it's actually important to have a pic like this to compact the loss of identity and essence that looks to be our future judging by how aimless we are right now in the 21st century, BUT, I don't intend to look to dour on that being the case. I see things being renewed in the new generations. Deakins to me represents where prestige commercialism is at. That they're stifled for creativity in any capacity but they're increasing their technical acumen to stratospheric heights. And what I mean by "essence" is essence in terms of an individual quality that's beyond being typified. A lot of things can be typified very easily and quickly because that's the generality of reality. But it's not so easily that case. There's a lot of HIDDEN potential and discovery, creativity that comes from somebody really peering in and deeply exploring their identities, their existence. That leads to great art.
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I find their stuff more enriching and emboldening than where the state of prestige commercialism is at, The Oscars, the work of Deakins, and so forth. It's all fake bourgeois with the prestige works versus either the highest in Hollywood that are actually determining our fates, Disney and the megacorps. It's either the megacorps or the small, the middle prestige like Deakins I see no use for, they're wasting space. When I see Deakins, I get absolutely nothing from, no sense of emotion, no life, no essence. It's just empty. Even Lubezki I find better. I actually got Tree of Life on bluray cause it was so cheap. I like that aspect of shooting, getting that camera nice and handheld INTO the scenes, really being part of it and not removed, but it's just the characters as human beings are nothing in it, the movie's very wafer-thin in what it's trying to do and show.

And it IS important to show a dearth of life with no sarcasm or even satire like a Sandler picture, but it's very feigned to me. Feigned in a way with the expectation of being considered quality. Every decision Deakins makes doesn't come from artistic creativity, it's just workmanlike plucking of basic modernist photography traits but absolutely drained of any intent or meaning. Let me share this pic comparison between Gordon and Deakins that I made a long time ago, because this really distilled down my major gripes, to be able to SEE the differences.

Call it cherrypicking and false equivalent shot selections, but the point of my comparison pictures are supposed to illustrate in that image is the aspect of cultural shifts and differences. Differentiation over time, what I'm concerned about, not singularly aesthetically minded, more about the bigger picture, the entirety. I wouldn't say it's just a matter sincerity because we're all going through new sincerity of expression in ourselves today. Even Deakins is sincere, but his work lacks the actual power of Gordon Willis. In this shot here, Brando's face with the black lighting on his eyes is more painful, more sorrowful. Deakins is more cold like Kubrick and for that being the case, he's more representative of our times today where people don't know what pain and struggle actually is and means. Jesse James really DOES looks like shampoo commercial compared to Bad Company.
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Is there a movie were Galatea doesnt fucking dies?
The west has a hate boner against her.
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That seems to be the pattern. It's a symptom of the rampant misandry. No, not only are there no good women because cultural imprinting turned them into whores, and not only can you not make your own loyal, loving alternative, you can't even live the fantasy vicariously through cinema because we're vindictive, jealous bitches. The only ones that are likely to escape the guillotine are manipulative, stronk types that stroke their whore egos like the Ex Machina succubus. 

I will never forgive them
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I just finished watching The Blob (1988) because I saw the Red Letter Media video discussing it and it piqued my curiosity.  I normally hate any film that has even mild horror elements because I'm a huge baby and I can't stand the tension when I know something bad is going to happen to a character but I'm waiting for the knife to drop.  This movie did have plenty of that, especially in the early phases when the blob is only the size of a dog or a person, and it did make me feel just as anxious as I thought it would.

I was able to get through it, and I'm glad that I did because it was a very tight, focused movie that didn't waste my time or have any poz like everything made these days.  Some deaths were pretty gruesome to the point that I had to look at a different part of the screen, but the tension and suspense were crafted very well.  I always had a clear idea of how the monster was evolving and the characters never felt like they were holding the idiot ball or acting in a contrived way.  I was really surprised that one of the kids died in the sewer section since that kind of stuff is a big no-no in American cinema; it caught me completely off guard and made me wonder who else was going to die.

Definitely recommend it.  I found a clean torrent on 1337 easily and downloaded it within 10 minutes, so it's not hard to find.
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I've been going back and watching a lot of Godzilla films. Really liked them as a kid and they're still really fun to watch. Looking forward to pic related because I never got around to it when it came out.
Also the 1998 movie is far worse then I remember.
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It's pretty good, my first Godzilla movie and now I get why this series is important, the series does have it's fun action but also has it's own special way of artistic expression.
I watched it when I was a wee little lad, good movie. I guess I will rewatch it.
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After watching The Blob as I mentioned in >>177 I decided to get over another horror film, which I had often seen parodied and referenced but never actually watched myself: John Carpenter's The Thing.

It's good. If you've seen the movie then you know why it's good because it's one of those works that commands your attention.  The initial few minutes were a bit boring, but once the story gets going there are a tonne of small details that kept me engaged.  I though there would be more monster scenes, but huge stretches of the film are spent watching the men go at each other's throats.  That was a pleasant surprise and much more gripping because it makes the monster scenes hit much harder.  When I watched The Blob, I felt like every scene where someone was alone would lead to a gruesome death and it made me anxious, but watching The Thing made me feel tense in a much less fearful way.  The only thing that really put me off the movie was the lingering shots of gore and viscera we get near the start, but that's just me being squeamish.

If you haven't seen it yet, then I totally recommend it: the film's praises are richly deserved.  Just like before, I found a 1080p version on 1337 and downloaded it within half an hour.
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I watched the Blade movie trilogy over the last week (again due to an RLM video) and I was pleasantly surprised.  There's something about the 90s style - trenchcoat, black leather, swords/knives, dual pistols, sunglasses indoors and at night, etc. - that I really enjoy even to this day.  Maybe I watched too much Trigun at a formative age.  In any case, I think the Blade movies may be the only film series I've ever seen where the second movie is better than the first - not just that it handles its themes better or that it has more of the setting to use, but its structure is better and the characters are used for better actions.

Pure 90s cheese and about a 50/50 split between the good (Wesley Snipes calling people mothafuckas and shooting guns) and the bad (the villains trying to make me care about them).  What I found puzzling was the action: some of it is shot well, since Snipes was one of the choreographers and he's a martial artist, so you have longer and wider shots that actually let me see what the actors are doing.  Then you have some truly bewildering shots where the camera is moving so fast and everything is so blurred that I literally can't see what's going on.  The movie is longer than it needs to be and the visual effects have not aged well, particularly the stuff at the end, but if you have some time to spare and you want to see gunfire and swordfights then it's worth your time.

>Blade II
An improvement over the first, which shouldn't come as a surprise since it was directed by Guillermo del Toro before he drank the Kool-Aid.  The cast is more like an ensemble, since we have Blade, Whistler coming back from the dead, Whistler's replacement (played by a young Norman Reedus), the usual vampires, a new strain of vampires, and half a dozen vampires that Blade teams up with.  There's a lot more CGI this time and the action is mostly focused on guns instead of martial arts, but the character beats are simple and always present - thus, the action isn't mindless and I actually care what's happening onscreen.  Genuinely a solid action movie that doesn't come with any caveats about its quality aside from the usual stylistic choices of an early 00s Hollywood film.  The new strain of vampires look really stupid, I suppose, but that's the only real problem.

>Blade: Trinity
Total trash and not worth anyone's time.  Blade fights Dracula and teams up with a previously unknown cell of vampire hunters.  Dracula gets played by some square-headed dude with a buzz cut and barely does anything throughout the entire plot.  The vampire hunter cell has some bitch who can't act or throw a punch, Patton Oswalt (who thankfully dies), and Ryan Reynolds of all people, whose character tries to be funny in every single scene and doesn't succeed even once.  I don't normally care much about celebrities, but it's really impressive that the writers managed to make a comic relief character played by Ryan Reynolds into someone I wanted to die at the end of the film.  Triple H also plays one of Dracula's henchmen, but he doesn't do much.

There are no circumstances under which anyone would or should enjoy watching Blade Trinity.  I will forever use it as an example of Hollywood filmmaking ruining what should have been a fun concept.  It's a real shame.
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Just watched whiplash and damn is it good, the whole dynamic between andrew and fletcherr is fucking great and I'm sucker for good jazz music.
Did you watch it lads, if you do tell me what did you think about it.
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Finished The Hill (1965) starring Sean Connery. It is about an officer (Sean himself) who is arrested for attacking his superior and taken to a prison in northern Africa. Said prison is basically a holding place for all of her majesty's soldiers who tried fleeing, stealing, or anything else of that nature. Some of the officers and men in charge run an extremely disciplined prison that ultimately leads to big issues later in the movie.

As for what I thought about it, I will say I very much recommend it. The movie is set in WW2, but the viewer is only aware of within the prison. This is a pretty nice change from every movie being set in the time period having to lecture on the sides involved. Instead it focuses only on the Brits and the men who are imprisoned there. I came into this movie to see another Sean Connery film, but was just as impressed with Harry Andrews and Ian Hendry who help ratchet up the tension. The start of the film sets the stage, but you really start to feel the tension the longer the movie goes on. As both sides of the conflict seem to start losing it and lashing out.
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I go through short binges now followed by long periods of watching nothing
last one included Hostiles, which was great until the plot started to fall apart culminating in that increasingly terrible ending
Sisters Brothers, which was very well done all around and not the kind of quasi-McFarlane tier comedy satire I expected just from Dr Steve Brule's casting
also grabbed the True Grit remake and Ballad of Lefty Brown, yet to watch those though
>>126 (OP) 
Hang yourself.
i dont know man, i liked the frame in sicario. i dont get the atpm and prisoners. both look alright.
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I just finished watching the recent Godzilla/King Kong movies, which had human drama that good to awful and monster fights that were generally wicked.

>Godzilla 2014
I remember seeing this in a movie theatre and enjoying it a lot; the sound design deserves special mention, since Godzilla has a very distinct roar which starts out high pitched and shrieking before lowering to a ululation from the back of his throat.  Upon rewatching it I found that it held up as both a monster movie and a disaster movie, since Godzilla is treated like a natural disaster/force of nature in this film.  There's a tonne of buildup before you see him properly, which is both a good and bad thing.  It makes the actual reveal of Godzilla feel much more meaningful because he truly looks and behaves like some prehistoric behemoth, but it means that the human drama accounts for a larger portion of the entire film.  While Bryan Cranston is on the screen, that's fine, but he dies at the end of the first act and the rest of the actors and characters are just not very interesting.  The protagonist is a bog standard military character, and although the actor plays him well he just doesn't have a personality.

The monsters, however, are great, and I think the MUTOs are solid additions to the monsters of Godzilla film canon.  They are good foils to Godzilla himself and they also feel like part of a natural world that existed on a different scale.  They have sexual dimorphism, and the female being larger visually underscore their more insectoid designs.  The only thing I can really say about the monsters in this movie are that I'd have liked to see more of them. 

>Kong Skull Island
A combination of Vietnam-era adventure and the classic King Kong story about a team of filmmakers/researchers going to an uninhabited island to find an ancient monster.  Genuinely a really good movie, with good performances from most of the cast and great monster effects.  Kong himself steals the show, and the team obviously put a lot of effort into making him feel like he fit into the Skull Island ecosystem (at the top, of course).  He feels like a real character with a personality, which I think is intentional since Godzilla in these movies is more like a pure hunter compared to Kong being a guardian.

The movie is held back by some of the human actors/characters not being very good, but overall it's a great combination of an ensemble cast and giant monsters fighting each other.  Even if you have no intention of watching the rest of the series, I very strongly recommend seeing this one.
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>Godzilla King of the Monsters
As with the previous movies, the monster fights are great; the hook this time is that the government agency from Kong Skull Island has facilities all over the world containing giant monsters, when one of them is attacked by an eco-terrorist group and the lead scientist woman is kidnapped along with a macguffin device she built that can control/signal monsters by replicating their bioacoustic calls/cries, which is a subtheme throughout these movies.  The group uses the device to awaken Ghidorah, frozen in a block of ice in Antarctica, who proceeds to wreak havoc and attempt to establish himself as the alpha of every monster in the world.

The bioacoustic stuff is a decent story gimmick, and it puts more emphasis on the sound design.  I like the sound design a lot more than I probably should in this movie just because it's used in simple, effective ways: every monster has a distinct cry, and you can tell when they feel pain or anger or other emotions.  Ghidorah himself is rendered incredibly well, and he really feels like his own monster in contrast to Godzilla and the rest of them.  The final confrontation between him and Godzilla is a real treat; there's a story running alongside the monster fight that shows what it's like at ground level when two of them clash, and the sheer scale of everything is just fucking insane.

The reason I spend so much time discussing the monsters is because the human drama is by far the worst out of all these monster movies.  The human characters have almost no personalities or arcs, and there are way too many of them.  You can literally just skip everything but the monster scenes and you wouldn't lose anything.

>Godzilla vs Kong
I think the team behind this was the team responsible for Kong Skull Island, because the human characters are much more tolerable.  This time Kong and Godzilla finally meet and fight to see which one of them is the real king of the monsters, but if you know anything about monster movies then you'll know they eventually unite in the face of a common enemy.  A really good movie, mostly because the monsters are at the forefront of it all and the special effects and monster fights continue to impress me.

There are two main groups of human characters, one of whom is doing their own thing and the other which is following Kong: the former is pretty annoying because they're all comedy relief characters but the movie is shot in the traditional Hollywood style which absolutely crushes any visual comedy or soul their scenes might have had.  The humans following Kong around are better, and the "stuck-up bitch" character that all Western writers seem to love actually gets what's coming to her at the climax of the movie, which was a very pleasant surprise.

Overall, the movies consistently have great special effects and the human characters are generally solid as long as they're interacting with Kong instead of standing around a table talking about Godzilla or technobabble.  Thanks to the age of streaming, all the day 1 torrents are movierips, so all the movies can easily be found on 1337x.  I recommend them to anyone who wants to see giant monsters fight each other, but if you do decide to watch them then you should allow at least a day or two for each movie to cool off.  There's so much noise and violence in each one that watching them back to back will definitely overwhelm your sensibilities.
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How is Kong Skull Island compared to the 2005 film? I recently watched it for the first time yesterday and I enjoyed it. Some of the CGI has aged, but thankfully not Kong and the creatures in Skull Island. There's a decent amount of giant monsters fighting, although there's not much of Kong fighting creatures compared to newer films. Characters were great, and even Jack Black did great as not-Orson Welles. Film length is long, but it didn't felt like a waste.
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I haven't watched the 2005 film in a long time, but I recall it being a more straightforward adaptation of the classic King Kong story, complete with a sad ending and lots of human drama.  Kong Skull Island is focused on the monsters first, because it's meant to be part of a larger film series and more of action movie than the 2005 film.  You don't meet the islanders until the characters have already encountered and fought several types of monsters, and the climax of the movie is a monster fight rather than Kong climbing the Empire State Building.  I think the human performances in the 2005 film were overall stronger, so it's probably a "better" film if you wanted to see the characters interacting with each other and connect with them.

Honestly, they're both really good movies and I think if you like one you'll like the other, simply for different reasons.
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I watched Thor Ragnarok with my parents last night after being suckered in by the opening premise of Thor and Loki being flung to the far end of the universe and having to fight their way back.  It was a movie with some decent moments but which was ruined by the usual Marvel poz and Feige-style anti-comedy.  The premise is such:
>Thor defeats a giant monster who wanted to bring about Ragnarok and destroy Asgard
>Upon returning to his father, Odin, he realizes that Loki is impersonating him and has hidden the real Odin on earth
>They go to earth but can't find him
>Dr Strange tells them Odin is in Norway and teleports them there
>Odin tells them that Ragnarok is coming and he's dying, then he dies
>Hela, Odin's firstborn daughter appears, and destroys Thor's hammer
>Loki panics and tries to return them both to Asgard, but Hela hops onto the Bifrost after them and throws them out of it
>This places them at the far end of the universe on a planet that is the universe's junk heap
>Thor is kidnapped and taken into slavery as a gladiator by a negress valkyrie who works as a scrap trawler
>Hela arrives in Asgard and starts killing people

The movie is decent when it's focusing on Thor being a fish out of water on the junk planet, but there are a lot of """"jokes"""" that constantly undercut the action and earnestness.  None of the men are allowed to be serious for more than 10 seconds without cracking a joke (by which I mean they stutter and forget how to finish a sentence), but of course the women get to beat them up without breaking a sweat, and suffer only mildly/temporarily until they can punch the men and assert their dominance.  It's just disgusting how emasculated and weak-willed the men are, which is made worse by all the fugly women in the film.  There is a sum total of one action/drama scene in the entire film that isn't punctuated by a joke.

Thor Ragnarok honestly has so many jokes that it feels like more of a comedy than anything, which clashes with all the grand space fantasy stuff it's trying to do.  Thor, Loki, the Hulk, the nigger valkyrie, Hela, Hela's goons, and a few other characters I'm surely forgetting are all lined up at the end, but none of them has any meaningful characterization because they all tell """"jokes"""" the same way and sound the same.  Making matters worse are the VFX, which are serviceable but not integrated well into the film or action.  It's painfully obvious when the characters are just talking to each other on a soundstage and when they're being replaced by 3D body doubles in the action shots, which is exacerbated by the constant cuts away from the action to some boring shot of a character's face.  The lack of weight is a real problem, and the insistence on shot/reverse shot """"comedy"""" cinematography makes every scene feel the same.

I would not recommend seeing it.  It had a few genuinely funny parts, but most of the movie was characters saying unfunny things and the film elbowing me in the ribs and saying "ehh?  ehh?  pretty quirky, ehh?" in a desperate attempt to hold my attention.  I would have really enjoyed a simple space fantasy romp with Thor acting like a meathead, but that would have been too simple and too fun for Hollywood.  This film reminded me of the Star Wars prequels: artificial, hollow, and trying to be too many things at once.
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that's an issue with a lot of the MCU, sometimes I wanted it to just shut up for a bit and actually be serious but it always had to shoehorn a joke in somewhere. it works for iron man because of his eccentricity but for someone like captain america or thor i'd want them to actually take it more seriously. not full on SRSBSNS but some more self-awareness. infinity war was a good culmination of everything and had a darker overall mood which endgame proceeded to throw out the window for time travel paradoxes and a lukewarm final battle and was the peak of the MCU. i liked watching them for having an overarching story with a bunch of different characters, but now that the big event is over I don't really care for what happens afterward, except spider man maybe.
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that's one of the funniest pics I've seen this week
FInished season 1 of Red Dwarf, I went into it thinking it was going to be a drama; that notion was dispelled in the first 10 seconds. It's a good start, quintessential britbong humor but I enjoyed it. Hopefully it gets even better with the later seasons.
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I just watched Sorcerer (1977) today and I wanted to post something while it was fresh in my memory.  The film is the second adaptation of the French novel Le Salaire de la Peur, or The Wages of Fear as it's more commonly known in English.  I described that film in >>354, but the premise is that four men have to transport unstable nitroglycerine across several hundred miles in unstable trucks.

Sorcerer follow the same general story, but the cargo is cases of dynamite that have been stored improperly in the South American jungle, which has caused the nitro to leak out of them and pool in the bottom of their crates.  The four main characters are an assassin, a man fleeing the Irish mob, a Palestinian militant who set a bomb in Israel, and a French banker who was accused of fraud and couldn't pay his collateral.

The movie had a bit of a troubled production due to being shot on location and is more "lopsided" than the French film.  The editor fucking loves jump cuts, and there is no spoken English for the first 16 minutes - in fact, the subtitled version I found didn't include subtitles for all lines of dialogue, which made me think I was missing something.  However, once the dynamite and driving were introduced around the halfway mark, the film quickly accelerated into some of the best tension I have ever seen.  If you like tension or suspense at all, you owe it to yourself to watch this one.

Sorcerer is much grittier than The Wages of Fear, and it presents each obstacle and piece of action in a much shorter fashion: instead of coming across something in the road and having the characters observe and discuss it, the film will simply cut to an obstacle and let the image speak for itself.  The characters don't speak much except to get on each others' nerves or to express some deep emotion when their backs are up against the wall, which I found to be extremely refreshing because I hate films that rely on dialogue too much.  The film being in colour adds a lot to it being generally visually stimulating, and there are smaller details that underscore how shitty the infrastructure in South America is - the characters have to cannibalize several old, shitty trucks in order to make one that's even halfway functional, and the montage of them going through all these metal husks to find parts and assemble them is really engaging without veering into outright comedy.

I was also unsure how this film would handle the potential for character deaths, since the point of the French film was to be an existentialist exercise in misery and suffering, but obviously that doesn't play well to a Hollywood audience.  I will just say that I was genuinely surprised in several places, and not in the hamfisted way you'd expect:
>character says "oh, how I wish I could see my family again"
>character constantly mentions "oh man, if only my family could see me now"
>character ACTUALLY LIVES, ZOMG!!!!!
And so on.  There's none of that in Sorcerer.

I want to mention the editing more, because the film is incredibly stark: there is very little camera movement except for the occasional pan/tracking shot, or a POV shakycam shot from inside the truck seat or under its wheels.  It almost feels like the film doesn't care about the viewer, but it's not actively hard to watch.  I think the best way I can describe it is that every shot is meant to have the emotion of standing on a road in the middle of a humid jungle: it's not there to be your friend, but it doesn't care enough about you to hate you, either.  It's just what it is, and what it is is probably going to kill you.  There were several scenes in this movie that genuinely had me glued to my seat with my heart in my throat, which is very rare for me.

Although the film has its rough spots, I strongly recommend it for anyone who likes good suspense cinema.  It's especially interesting as a companion film to The Wages of Fear, but it's not a direct remake because the characters and overall style are completely different.  I only heard about this film because it was a footnote in an episode of Star Trek: The Next Generation, so I'm trying to get the word out and make as many people aware of it as possible.
Replies: >>498
>sometimes I wanted it to just shut up for a bit and actually be serious but it always had to shoehorn a joke in somewhere
It's a real shame because all the elements for a fun, genuine adventure with a bit of gravity are there, but the writers have all been sworn to practice the doctrines of Joss Whedon, so there's never allowed to be any genuine emotion from any character.  Odin's death is so disconnected from the rest of the film it's laughable, and yet it's supposed to be the rising event for Thor and Loki's character arcs.

It would have been so much more fun if the film had just let Thor have a few Serious Moments™ and reflect on what Odin's death means for him, since he's basically a prince but way too much of a meathead to live up to the role of being a king.
>I like doing all the warrior stuff, and I do it for Asgard and for my family
<but now my father's dead and I have to be a king???
>oh wait, here's a villainess - I'll just fight her >:)
<oh shit she flung me to the far end of the universe
>hmm, maybe I shouldn't have charged in headfirst by myself . . .
<is this what it means to be a king???
But no.  Have a nigger Valkyrie and a handful of useless, grating characters.
I really like this movie too. Didn't it live in some kind of production hell and never got released until like a decade ago?
Replies: >>499
No, it was released in 1977 as normal.  The production had some trouble due to the logistics of shooting in a wild jungle, but the entire shooting schedule was apparently 10 months.  It was remastered on Blu-Ray in 2014, but the reason you may think it had trouble in production is that it released a month after Star Wars, which naturally means it may as well have not existed.
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I watched the new Venom and I enjoyed it. Not sure if it was just the theater I went to but once Carnage came around it got REALLY fucking loud, but in a weird way I enjoyed having my eardrums blasted. You don't go to these kinds of movies for plot but the little there was was decent enough. However they still somehow managed to sneak in a dup btfo by having Venom preach to a crowd of ravers about accepting illegal aliens and somehow they don't see the irony in this. Also the vilain's love interest is a nog because it's CY + 6. The banter between Eddie and Venom was good though, worth pirating just to see the banter. Also the mid-credits scene confirms they're going to show up in the new Spider-Man, so now once again I have to watch the nu capeshit because it's fucking Spider-Man. I'm also betting that Tobey Maguire and Spiderverse spidermen are going to show up, if you watch the trailer you'll understand why but I won't force anymore capeshit on you, you deserve better. I'm just annoyed that Yidney and Soyny keeping using literal paradoxes and alternate universe/timeline fuckery as an excuse to make more money.
Just saw the Halloween Kills movie. I have only seen the first film in the franchise so maybe I'm missing some context here but the ending twist seemed to come out of nowhere and sort of ruined the plot [spoiler]made Myers essentially supernatural[/spoiler]. I have jumped in on a film franchise at the end before, this year I saw FF9 without having seen any of the previous movies and it was enjoyable as an action film.
Returning to Halloween Kills, the action kills and so forth were still good and some of the characters that died I didn't expect.
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This is a bit late, but most of this thread is just me blogposting about movies I watch so I suppose it doesn't really matter.

I recently had the idea to watch the Deathstalker movies, since I'd seen some parts of Deathstalker II and it seemed like a fun pastiche of fantasy tropes and bad acting.  After watching the first two films and part of the third, I can safely say that Deathstalker II seems to be the high point of the series precisely because it doesn't take itself nearly as seriously.  The best things about these movies are the poster illustrations, honestly.

Standard "low fantasy" movie from the 1980s, which is a polite way of saying it was made on a shoestring budget and mostly features people running around in the woods or very simple sets.  There are a couple funny scenes and quite a few naked chicks, but it isn't really sexy.  You can skip this without missing anything.

>Deathstalker II
Deathstalker is played by a different actor, and this is more of a standard adventure story: there's an evil wizard who wants to do evil things and Deathstalker gets roped into helping some nameless chick he meets in a tavern.  It is difficult to explain just how campy and nonchalant the movie is: the opening sequence shows Deathstalker escaping from a couple of guards, and when the evil villainess gets a look at him through a window, she turns to the camera and says "I'll have my revenge - and Deathstalker too!"  Then the Deathstalker II title card pops onto screen and the dramatic music swells.

The entire movie is like that.  Deathstalker's sidekick girl has a modern accent (New York?  Valley girl?  Not sure.).  They get captured by amazons and Deathstalker is forced to fight for his freedom, which he does in a fucking squared circle pro wrestling ring.  There's so much goofy, campy stuff that I can't properly describe it.  Definitely worth a watch.
There's also some decent nudity, but it's some Hollywood actress who was probably raped, so that tempered my enjoyment of it.

I'm glad we can still get newfags on a board this slow.
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>Deathstalker III
People running around in the woods.  A couple decent (and I use that term very generously) action shots, but overall completely mediocre.  A big disappointment, especially after the campy fun of Deathstalker II.

I haven't gotten around to watching Deathstalker IV yet.  Judging from the poster and the movie description it seems there will be more amazons (read: chicks in chainmail bikinis) in this one, so it may have some redeeming value.
Replies: >>1141 >>1153
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Just watched Come and See. It's a Russian movie about a young Belarusian partisan during WWII. It's the most intense movie I've seen in a long time and, like many Soviet-era movies, demands a lot of attention from the viewer. There's no real Western-cinema equivalent that isn't obscure and experimental. You have to have patience, but it's very good and I highly recommend it.
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I heard "Go and Look" is the proper translation, but we are stuck with "Come and See" because of some retard.
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Started Season 3 of Red Dwarf, very funny show and I am enjoying bong humor.
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Remember how great The Matrix 2 & 3 & 4 were? Yeah me neither...
I watched this movie called Equilibrium (2002) starring Christian Bale and Taye Diggs, and thought it was a great dystopian film and a worthy spiritual successor to The Matrix (1999)... Whereas The Matrix was thought-provoking, Equilibrium was emotion-provoking.
Set in a post-WWIII world where human emotion has been outlawed to prevent future wars, citizens consume a state-mandated serum to remain unfeeling and peaceful. Meanwhile anyone who rejects the serum and "feels" is driven underground fearing prosecution. The hero of our story, played by Bale, is a high ranking member of the police force that hunts down those who "feel". He firmly believes in his mission... until he starts missing his serum doses.
Expect a nice mix of storytelling, action, and plot twists. But also expect some dated CGI which I've grown to appreciate in a nostalgic way and Diggs' character showing more emotion than he should, getting completely overshadowed by Bale's character. Overall a very enjoyable movie and now a personal favorite of mine.
Replies: >>863
It's "go and watch." It would be a much better title.
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Equilibrium is great, too bad it kind of shits itself by the end.
Replies: >>875
>too bad it kind of shits itself by the end.
How so?
On Season 3 of rebooted Battlestar Galactica, anons said it went to shit at this point but I'm liking it so far. It's actually answering some of the questions they've been dangling in front of you for the last dozen episodes instead of just piling new shit on top and never answering any of it like Andromeda. Having a budget also helps I guess.
>>126 (OP) 
I believe the term is "Japanimation".
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Just saw Phil Tippett's Mad God, i liked it, it grabbed my attention and didn't let go till the end.
>Top Gun: Maverick
Saw it yesterday with my dad and it was actually really fucking good. I can't really say much about it except that it does just about everything right without being a nostalgiafest. Very recommend
>Obi-Wan Kenobi
The first two episodes are out, I finished the first one and it's really boring. Nothing really happens, and they're giving Obi-Wan the TLJ treatment by making him doubt himself and becoming bitter towards everyone, although here at least there's an excuse for it unlike with Luke. The sith nigress is also portrayed as childish and impulsive which I find mildly amusing. I hope it gets better but I'm losing hope.
Sounds like trash marxist propaganda, no thanks. The holohoax never happened and Hitler did nothing wrong. Have talking to yourself faggot
Replies: >>1139 >>1253
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It's an anti-war film rather than a pro-marxist film. For example, when the protagonist is enlisted early on in the film to serve under the Belarusian resistance (aka going against the nazis), his mother is distraught with grief and is completely against him going. It also doesn't touch the jews or the Holocaust in any way shape or form if I remember it correctly. Does it show cruelty from Belarusian nazis? Yes, but hell, I don't think you should expect that every soldier conscripted ever by any military is an upstanding citizen when dealing with the enemy. And the ending is the protagonist realizing - even after experiencing the horrors of war - that no one is born evil.

Overall, I agree with the original poster. Really has great portraiture too of the characters.
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I saw Deathstalkers 1-3. First one is good, second is great, third is meh. None of the women were as Amazonian as I hoped, but the action was good.
>i'll get you, and Deathstalker too!
made me laugh but also made me very upset
Watched Match of Titans, and despite the name "Movie 4" being very offputting, I enjoyed it. It recycles a lot of the fight footage from Deathstalker 1 and Barbarian Queen but it's a lot more entertaining than 3 was. Lots of fights and a plot that knows it's not trying to be anything special. Plenty of tits. Also features a lesbian barbarian and her personal traveling harem that forces a servant girl to be her sex slave, so don't give me that "yuri is pure" bullshit.
>>126 (OP) 
Watched Fatal Attraction and am now watching Basic Instinct. I hate the degeneracy in these movies but im fucking addicted to them. I dont know why.
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>Sunset Boulevard
I watched this only because it's deemed a classic and David Lynch has praised it. I actually didn't mind it. It's very typical Hollywood and the romance is cucked, but I still sat through the whole thing. Not sure if I'd wholeheartedly recommend it, but if you have any inclination to check it out, I'd say go for it.

I checked this one out for spanish listening comprehension. I tend to stay away from spanish-speaking movies because they tend to be telenovelas, but I thought with Luis Buñuel being the director, it wouldn't be so bad. I was wrong. It was a slog to get through.

I decided to give Ingmar Bergman one last chance to redeem himself after watching his documentary Fårö Document. It was not bad until the end when he proceeds to tell you to vote for some socialist party in order to help all the people you just met in the movie. What a fucking preach that had no sense being there. Well, this one was pure feminist trash almost the whole way through. Two spoilers to give you a sense of how bad it was:
1. One of the female characters tells you how she cheated on her fiance. She goes to great lengths to explain how she was with a friend and they both fucked a young boy while another one watched. She ended up pregnant and had an abortion.
2. The other female character decides to have a kid to spite her actor friends who say she isn't "motherly". She can't stand the kid and runs away, abandoning him and her husband.
I could stand a movie where the women are strong characters and maybe rebelling against a system (like Silence of the Lambs) - but to a point. This seemed like woe-is-me whining from women who literally brought bad situations upon themselves and made it seem like it was a result of the times. I feel like The Seventh Seal and Wild Strawberries weren't so bad, and sure, Persona was trying to do something different with the character piece and the cinematography. But I don't watch cinema to listen to a mouthpiece for the socialist-feminist brigade.

I watched Whiplash a while ago on a recommendation and I couldn't stand the kid. Otherwise, it didn't leave a lasting impression except that Simmons was good at yelling.

I've seen Fatal Attraction, never saw Basic Instinct though. I wish I could understand your addiction, but the cheating aspect always turns me off completely.
The Germans are based on the Dirlewanger Brigade so I wouldn't be keen to call it made-up bullshit like other WW2 movies from the allies' perspective. While it's not completely clean from propaganda (the climax and what the SS officer says is only what comes to mind, the former making sense since it's Dirlewanger), it hammers in the anti-war theme which is what the movie is about. It's a unique film and deserves the title of horror movie for its cinematography, lighting, and sound as well, and because of those it's also one of the most beautiful movies made to me.
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>>126 (OP) 
I checked out Blue Collar (1978) this weekend. The movie is directed and co-written by Paul Schrader, who prior to this movie, was best known for writing the Taxi Driver screenplay.

The movie tells the tale of three auto-workers who, each facing personal financial struggles, decide to rob their union's safe. However, the robbery leaves them with little cash and the new-found knowledge that their union is severely corrupt.

I'm very happy I came across this movie because it was great. The cinematography captures the dark and dingy lifestyles of down-on-their-luck men. The film is dramatic without being melodramatic (I couldn't help but imagine how they'd shoot this film today). The dialogue feels natural between characters with great acting on all fronts from Richard Pryor, Harvey Keitel, and Yaphet Kotto. And the plot really speaks volumes. Two of the main characters are black (the other white) and there certainly is commentary on being black in the America, but the focus is really on working-class people, regardless of race. Even more so, you could say the film is really about the power dynamics upheld by shady bureaucrats who know how to manipulate the working man to do his bidding through the motto "divide and conquer". It's a movie that has as much meaning today as it did in the 70s.
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When you think of live action adaptations of anime made outside of Japan (maybe even inside), you can bet your ass that they're gonna suck. But while browsing moe, someone highly praised Nicky Larson et le parfum de Cupidon (aka Nicky Larson and Cupid's Perfume), a French live-action adaptation of City Hunter released in 2018 (Nicky Larson is the french name of Ryo Saeba). Looking at the place of origin (France) and the date of release (2018), I was more than skeptical about how faithful this movie could be. But I decided to check it out, prepared to drop if ever I started getting any smell of feminism.

The plot follows Nicky Larson and Laura Marconi (Kaori Makimura) as they take on a job to find a missing perfume that causes you to fall madly in the love with the person who wears it, assuming they smell it on you.

To my surprise, it was actually faithful to the original source material. Granted, I've watched only a handful of City Hunter episodes so I can only speak of the general premise. But 3dpd tits and ass? Check. Hammer time? Check. Comedy and action? Check. No feminist shit, no including minorities because you have to. It seems anyone who touched this film wanted it to stay true to the original series.

It's not high cinema in any sense of the word (it is City Hunter after all), but if you happen to come across the movie, I'd give it a watch.
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Daft Punk
If you are looking for "full story" here is the order:
1."One More Time"
3."Digital Love"
4."Harder, Better, Faster, Stronger"
8."High Life"
9."Something About Us"
11."Veridis Quo"
12."Short Circuit"
13."Face to Face"
14."Too Long"
I've recently watched the first two Cloverfield films, Super 8, Kill Bill Volumes 1 and 2, Pulp Fiction, 21 and 22 Jump Street, and Superbad to go down a list of movies that I thought I should have watched when I was younger.
A decent film with a realistic around-college age cast. The realism tended to stop when the heroine was involved, but I rooted for the cameraman, getting engaged enough in the film to cheer when something went right and exclaim when something went wrong. I liked the monster design.
>Super 8
I did not watch this immediately after Cloverfield, but it feels like a shame to anyone who did not to put this here. Super 8 is, on its own, ET with a hostile alien and equally hostile family dynamics. In the bigger scheme of Abram's works, Super 8 is Cloverfield for children. The plot beats are the same. The monsters have very similar appearances. The characters wouldn't be out of place as adults in Cloverfield. It's enjoyable as a family film watched around 12-14. Otherwise, your efforts are better spent watching its adult counterpart.
>Cloverfield Lane
A work obviously meant to be on its own rather than part of the Cloverfield franchise. The plot was predictable, but I enjoyed the bunker group's high times. It's most enjoyable if you have never seen isolation media before, have little knowledge of mysteries, or are a woman.
>Pulp Fiction
A great piece for anyone who has never touched mystery or nonchronological media. Otherwise, a decent crime movie with overt theming. It's fun for repeatedly watching and little else, but I can see why it stuck with a generation and contributed so much to contemporary culture. The portions I enjoyed the most were the interactions between Jackson's and Travolta's characters.
>Kill Bill Volumes 1 and 2
Stylistically interesting with a fairly bad story and derivative directing, particularly of Pulp Fiction. I can understand liking it a lot if you saw it as a teenager and had never seen wuxia or other Chinese films. I enjoyed Bill's monologue about Superman until he brought it back to The Bride. Worse than any John Woo movie but neat pieces to study for references to films and other media before and after it. Many original aspects were done better by media inspired by it. Tarantino really needs to lay off the feet.
>21 and 22 Jump Street
Not bad stoner/frat comedy films, these terms being used for the demographics who would like them simply because they are funny, which is not a bad takeaway. I found myself laughing quite a bit at some of the dumber jokes. The leads had decent chemistry with each other, and I enjoyed the latter's deconstruction of the former. Interestingly, the core of many stoner/frat films is legitimate brotherly love, which is typically not depicted, given lip service, or poorly deconstructed by higher films.
A decent  stoner/frat coming-of-age film for high schoolers. It's not incorrect in its depiction of their struggles, regardless of how good or bad the existence of these struggles are culturally. My favorite interactions among the cast were when the two deuteragonist groups were alone. Those who have never had friends before, especially not during puberty, may say that there are homosexual tones throughout the film. The ending scene of the main deuteragonist duo being separated by circumstance and societal demand but longingly looking at each other because of their realization that they would rather be with their friends was impactful in a way that I didn't expect the film to be capable of.
I watched Norbit recently. I must say that there was a lot of care put into the film, but many scenes, especially toward the end of the film, reached the point of being thriller-like. For instance, Norbit is thrown through a window and has a concussion. He sees a dog his wife ran over, and the dog just starts talking, urging Norbit to kill her and lamenting losing his legs. It's not played as a hallucination either. The dog does not start barking at the end of the scene. There's another scene where Norbit's wife is pursuing Norbit with her brothers by driving into incoming traffic, holding his head to her chest through a car window. Rather than scream in panic at an oncoming car, Norbit's wife repeats how she's ready to die. Overall, it's a good black comedy both in race and genre. I could have lived without seeing that fat suit basically naked.
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Zoomer adhd movie with tranny and burn, loot, murder propaganda.
I really don't know why I expected anything else.
But, hey, it made me thankful I don't live in Jew York.
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Saw the new Beavis & Butthead movie. I was pretty skeptical about it because I remember not really being big into the 2011 seasons, but I had a lot of fun with this one. I got a gut laugh out of that scene where they take the ranting of dumb bitches about their "privilege" at complete face value and they started stealing shit because they thought they had the "privilege" to do so.
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I enjoyed it. Though i feel it had wasted potential and did some things i didnt like.
>meikyuu black company
mediocre. Some filler and some boring parts. And weird cutoffs where you dont really know whether you missed a episode or not sometimes because it just skips forward a bit. Its not like a timeskip. Its basically just not telling you a few details what happened and just kind of fast forwards it.
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Just watched picrel.
10/10. Pretty fucking good. It's a fun action flick and nothing more, and it doesn't need to be anything more.
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Random movies that I watched:

>Fat City (1972)
Stacy Keach is a washed-up boxer with an alcoholic addiction. Jeff Bridges is an up-and-coming boxing star. I had high hopes for this one, but the acting was terrible, and the boxing might have been even worse. You'd only watch this to see a young (and extremely goofy-looking) Jeff Bridges.

>Hard Eight (1996)
Paul Thomas Anderson's first feature film. Cinematography is great, and Philip Baker Hall's character is great. But John (played by John C. Reily) and Clementine (the Goop lady) are insufferable idiots. I remember an anon saying it's hard to see the point of PTA's movies sometimes, and this was one that fit that description perfectly. The film was all about Sydney (Baker Hall), meaning it was a great character piece. But everyone else was one-dimensional and motivations were lackluster. It should have stayed as a short film.

>The Bad Sleep Well - 悪い奴ほどよく眠る (1960)
Akira Kurosawa classic with a basis of Shakespeare's Hamlet. The cinematography is great, and you can tell Kurosawa had complete mastery of black-and-white films. Highly recommend.

>All About Our House - みんなのいえ (2001)
I had high hopes for this one after Welcome Back, Mr. McDonald. But it's shit. Characters create conflict because they're dumb. I couldn't finish it and I would not recommend it. Only funny part was right at the beginning when I guy says Godzilla's his wife.
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Binging the last few (good) seasons of Top Gear and now The Grand Tour.
funny brits being funny
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While researching Icelandic movies, I came across "Sódóma Reykjavík" aka "Remote Control", a 1992 cult comedy. Icelandic people sing high praise about this one, though they note it's distinctly Icelandic and the humor might be lost in translation. I couldn't find it, but I kept checking every so often to see if one day it'd pop up on the internet. Lo and behold, someone posted a hard coded Brit version on youtube back in May (https://yewtu.be/watch?v=qcB1E-On19E). Sometimes patience is rewarded.

The movie's about some guy who lives in his mom's apartment and works as a mechanic (or apprentice mechanic). His mom calls him one day at work, accusing him of stealing her remote control. She threatens to flush his fish down the drain (they're living in the bathtub) if he doesn't return it. All Hell breaks lose after that as he asks his punk sister about the missing remote control.

It very much feels like a 90s movie in line with Wayne's World. I'm sure the movie has some lost-in-translation moments (for example, from what I gathered, Iceland had/has some really strict alcohol laws that line up with Prohibition Era regulations in the US. This helps explain some of the events going down in the movie), but overall, it's just crazy shit happening and people doing stupid shit. I wouldn't call it a masterpiece by any stretch, but it's worth a watch if you like that sort of thing. The second half was a lot better in my opinion.
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Started watching MXC. Its pretty fun.
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You mean the parody or the original takeshi's castle?
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I started watching The Life & Times Of Tim recently and its pretty good considering ive laughed at every episode so far.
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Continuing with my journey of Paul Thomas Anderson films, I watched Phantom Thread. This one was made with PTA acting as cinematographer instead of having one outright. He also really wanted to get that film grain, so he filmed it on actual film.

In terms of cinematography, amazing. But what was going on with that plot? It follows an autist dressmaker who falls in love with a German lady. She can't handle his autism, so she starts poisoning his food with mushrooms. She admits to him at the end that she wants him frail and sick, and he's like, "Yeah, that makes me feel hot around the collar, give me some of that stew." PTA, you might shoot some beautiful films, but the characters are terribly written. Get a grip (err, writer?), man.
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Imaginaerum, Nightwish's film they made out of their album of the same name. It's very cool to look at and one of those movies that comes at the right time in your life and gave me the message I really needed to hear. I recommend it.
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After watching Rewind This I had the urge to watch some VHS B-movies; you know the kind of productions made on a shoestring budget, with "ludicrous" plots and tons of fan service? Despite not having seen many, I think these movies have their own charm and can be entertaining, if you adjust your expectations that is. So I went looking in the Internet Archive and surely enough there's a goldmine of VHS rips, partiularly of the kind of movies I'm looking for, so I start watching... As I make my way through the 300+ titles, I'll be writing reviews for the most noteworthy ones ITT.
The VHS rips collection is here: https://archive.org/details/video_archive_553-cd-207
Hash: 553cd207f5601ddb9e6aa78082dc7602c390e6c6

>Abducted (1986)
A high school girl jogging in the woods is kidnapped by a bearded lunatic, who takes her to his cabin away from civilization. Soon an old man joins them.
The plot is quite simple and the pacing is slow, however we get to see plenty of the natural landscape in between scenes so it's more palatable. The subpar acting and bizarre dialogue almost works, considering that the victim is practically a child, and the kidnapper is a total savage. The movie handles the tension between the cast considerably well and doesn't resort to cheap gore or nudity scenes, so it works nicely as a serious albeit mild thriller film.

>American Tiger [aka American Rickshaw] (1990)
Now this is a wacky one. An american rickshaw puller gets entangled in a murder case after a brief encounter with a hooker and her four-fingered friend, while unknowingly being helped by a Chinese witch.
I started playing this movie and kept thinking "what the hell am I watching?" The events are hilariously nonsensical at first, and by the time the plot becomes clear I'm already engaged in the story and its eccentric cast. Viewers are served a healthy dose of action and mystery, with a side of fan service for good measure. What the movie lacks in acting quality, it more than makes up for in outlandish writing and direction, with amazing results.
Overall an absolutely zany movie that manages to be very entertaining. Recommended.

>Bad Blood (1989)
A man finds a painting of himself in a gallery hosted by a strange woman, who upon meeting him claims to be his real mother. Later the man and his wife pay the strange woman a visit at her lavish mansion, and she wants him all to herself, in more ways than one.
Pretty straightforward plot. Not sure if this counts as an erotic thriller as I personally found it quite disturbing, but still enjoyable. The performances are surprisingly decent, especially the man's, although the actress who plays the strange woman kinda oversold the character. Overall a pretty good psycho thriller film. Recommended.

>Bank Robber (1993)
A man called Billy robs a bank to start a new life with his girlfriend, but is forced to lay low in a cheap motel after a bank camera captures his face. The hotel staff and residents recognize him, but instead of calling the police, they squeeze him for money. Meanwhile, his girlfriend back home is having the time of her life.
Billy is played by a young Patrick Dempsey (Grey's Anatomy, Enchanted) and one of the cops is played by Forest Whitaker (Last King of Scotland, The Butler). Both actors would later become major Hollywood stars... While the acting is not bad by any means, the characters are mostly dull and unfunny, not befitting a supposed comedy movie. The only exception being Billy who, gradually and amusingly, loses his mind and money while holed up in the motel room. There's also enough fan service to fill your pocket, if you know what I mean. Interestingly, unlike other movies here, there's nudity of both sexes equally, so we get to see some Dempsey tushy.

>Bedroom Eyes (1984)
A man with a voyeurism kink keeps spying on a beautiful redhead through her window, until one night he inadvertently becomes a witness to murder. The man escapes the scene thinking no one saw him, but the killer is already on his tail.
This one's fan service central, but we also get a plot. The debauchery is contained almost entirely within the first half hour, after which the murder happens and we are reminded that this is a mystery movie. There are clues scattered throughout the movie, all revealed at the end of course, but the most important clue may be hard to spot on the first viewing.
Overall a good mix of sex and mystery. Recommended.
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A movie about a jewish suburban family made by a jewish director that isn't subversive but still markedly jewish about an ugly brat who is picked on by the whole school for being ugly and insufferably meek and treated unfairly by her family even thought she somewhat brings it on herself for being a brat. It's one of those movies that trivializes and deconstructs the story it's telling which makes sense since it was originally titled Faggots and Retards which is why I decided to watch it, and has no resolution to the presented conflict; a movie with little attachment as the protagonist was written to not be morally above her antagonizers. The only other point it has is what the movie is plainly about, which is to be relatable for anyone who was/is a faggot, retard, or cringeworthy as a child or disregarded by their environment.
Replies: >>2336
Wow, I watched this movie a while back. I remember absolutely nothing about it, but your description sounds about right to me.
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Late Night with the Devil, a second-place talk show host invites a supposedly demon-possessed girl onto his show to beat Johnny Carson in ratings. You can probably guess what happens next.
Very well-acted and captures the 70s aesthetic very well. Ending did feel a bit forced but the rest is very well done. A lot of people are bitching since some of the title cards it uses between shots are AI generated, fucking cry about it you'll find a way to adapt just like animators had to adapt to 3D animation and the music industry had to adapt to piracy, your kneejerk reactions of "BAN IT NOW REEE" only proves how replaceable you'll be once the kinks and major discrepancies are worked out in a few years.
also NINE studio cards at the start holy shit
Here's what I watched in April within the span of 1-3 weeks in chronological order.
I think enough people have seen this movie or know what kind of it is.
>Broken Blossoms
Silent film about an abused child of a prize fighter rescued by a student of Buddha-turned-opium smoker in Limehouse.
>Napoleon Dynamite
Same as Juno.
>Welcome to the Dollhouse
See post above.
>easy A
Teen sex comedy that has characters with personalities and no genre contrivances. Emma Stone carries this movie, it would be unremarkable or bad without her. For what it is it's a standout in its genre.
>500 Days of Summer
Manic pixie dream girl and solemn romantic dating each other and it goes wrong because of the former's personality and the latter's expectations. Not terrible but if you already dislike these kinds of movies don't bother.
>Lemony Snicket's A Series of Unfortunate Events
Whimsigothic kids movie based on a book series.
>But I'm a Cheerleader
Shitty dyke movie.
>Lilja 4-ever
Cynical ugly "shocking" life sucks movie with the key distinction that the protagonist has empathy on whereas movies like this make the protagonist a piece of shit as well and is close to the events it's based.
>Un homme qui dort
French existentialism, was in my backlog for 8+ years.
>Home Room
Shitty movie about the aftermath of a school shooting that's 2 fucking hours.
Movie of a girl who gets raped at a party and becomes withdrawn and quiet. It's a chick movie based off of a book. I was interested in it because her silence was described as selective mutism and thought she had it for no reason.
>Moonrise Kingdom
Two emotionally-disturbed kids run away with each other on an island in New England on the run from their caretakers. The dialogue of the child actors is spoken like they just learned their scripts and the appearance of the two leads is offputting, a pudgy boy with no test and a girl who's eyes are uneven. I still like the concept of the film and it was one of my favorites as a kid.

What I've watched in May so far was Rango and Abducted. I remembered Rango looking cooler and mature in the trailers for it. Abducted was VHS horror/thriller shit. I also tried watching Palindromes but gave up 15 minutes in, which is the semi-sequel to Welcome to the Dollhouse, as I didn't care to sit through more jewish shit and neither did the studio as he apparently used his life savings to make the movie. Some of them are movies I saw commercials of when I was a kid and pre-teen but never saw in theaters, some were rewatches, some I hadn't seen before.
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I checked out the 2000 Brazilian movie A Dog's Will (O Auto da Compadecida) as per a recommendation from a stranger. It's (apparently) a well-known movie that even garnered some popularity in other Latin American countries.
The movie's about two poor men (Chicó and João Grilo) who wander into a town. They end up working for a baker and, well, things derail quickly. It's a comedy and up until about halfway in the movie, it's a pretty good comedy. João is constantly talking out of his ass and the pair get into comical situations.
I ended up pausing halfway, thinking this was pretty good. But then shit goes down very quickly. Spoilers ahead.
João ends up getting killed and gets judged - along with all the main characters we've dealt with so far. Jesus is black (because João is racist), surprise surprise. João calls upon the Virgin Mary (she is the compassionate woman referred to in the Portuguese title) to help them get out of going to Hell. And then every fucking guy gets excused. The baker's wife who was a slut the whole movie? Yeah, she's forgiven because right before death, she told her husband that she cucked him because she wanted to die after him because she couldn't stand the idea of seeing him die first. She wanted to cuck him to death because she loved him. I am not making that shit up. So the couple go to Purgatory. The priest and bishop who were centrally concerned about money and were cursing the man who shot them? The priest (who is lower in rank, mind you) reminds the bishop that they must absolve all men, so they pray for him. Purgatory too. The guy who killed 30 plus people? Yeah, he's COMPLETELY FORGIVEN - HEAVEN SENT. Why? Because cops killed his family, yo. Cops are bad and Jesus is black so we wuz kangs, let's go to Heaven. João ends up being sent back to Earth because...? He's poor? Anyway, at that point, I started to realize that the film had really been harping on how poor people are oppressed by rich faggots. There's one lady who is from a rich family and she's chill, but she ends up running away with Chicó and is so happy to now live of a destitute life. Huh, makes you think that maybe the writer was something, right? Starts with c and ends with a t. I'll let you come up with your own theories.
Even if you don't think this is Marxist propaganda, the judgement scene was so ass-backwards in its logic, it ruined the movie for me. Really reminds me of mafia members who kill and then get absolved of all sin because Catholics. Yeah, kill women and children, doesn't matter because you led a hard life. Yeah, cuck your husband on a daily basis, doesn't matter because you regretted it right before dying. By their logic, every single person has the opportunity to go to Purgatory at the very least.
Really unfortunate because this movie could have been good. Sequel confirmed for 2024.
Replies: >>2428
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If you want to watch a comfy movie about religion watch Cantinflas - "El padrecito" I hope you know beaner.
Replies: >>2432
If you're a beaner and you don't know Cantinflas, you're a disgrace.
I'm no beaner, but if I can find El padrecito with english subs, I'd be down to watch it.
Replies: >>2523
The last several television shows/movies I have been watching 
Television: walker Texas ranger, king of queens, maverick 
Movie's: the road to series featuring Bing Crosby and Bob Hope
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>Streetwise (1984)
A documentary based on an article written about homeless youths on the streets of Seattle. Some of the teenagers we meet are Rat (a runaway who lives in an abandoned building with some guy), Tiny (14-year-old prostitute with an alcoholic mother and abusive stepfather), and Dewayne (a dealer on the street with a father in jail). It was actually up for an Academy Award nomination back in the day, and while typically not something I'd watch, I was somewhat curious about the high acclaim.
I thought the movie would have more of an effect on me, but it was lackluster. Sure, seeing kids as young as 13 on the street was pretty messed up, but every single one of them came from a broken home and/or were not amiable in the least. Mom has 7 kids and blames you for getting sexually abused by her boyfriend? Check. Loud and brash, fighting anyone and everyone who gets in your face (and we don't even see them do anything to you)? Check. Even the kids who we get more of a focus on barely have any humanity to them. I can't for the life of me remember Rat's story apart from running away, and he doesn't do anything in the movie except ask for change and goof around with some random dude (who we also never get any backstory to). We also don't really get a sit down with the characters - instead, the director has some voice over or relies on you to listen to two kids talking to each other to know who they are. I'm usually pretty good with names, and I don't remember half of them.
I'm thinking less characters would have been better, especially if we meet a character at the beginning/end of the movie and never see them again or had never seen them before (which happens a lot). Also, rather than rely on voices only, have some text, like "Tiny - Teenage Prostitute".
Overall meh, not worth it.
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Oh, you will watch it alright, here
That is the only version I could find that worked with those subtitles in https://www.opensubtitles.org/en/search/subs
There are better versions in internet archive or jewtube, but they don't work with those subtitles.
Replies: >>2531 >>2541
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You're doing Dios's work, anon. I'll download it and take a gander.
Replies: >>2539
I rewatched the movie and it still holds even today, damn, I miss those type of movies, now that third world shit country only made shitty movies.
I started watching the movie last night, but those subs are atrocious. Not only is incomprehensible at times (the person must have used Google translate for every single word at a time), the jokes are not translated for an English speaker and are completely missed. If I watched it with Spanish subs, I'd probably understand about as much as I do now (maybe even a bit more).
I'm going to continue sitting through the movie, but I'm definitely not getting the full experience.
Replies: >>2553
I think this spanish subs should work.
Yeah, when I was rewatching it, I was wondering if they would translate a lot of the jokes properly in english, I guess they couldn't.
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