|
|
Post by rushy on Sept 29, 2024 17:28:20 GMT
It's the most bonkers film I've seen in years. I recommend seeing it. Even if you don't like it, no one can deny what an absolute meme it is
|
|
|
|
Post by burrunjor on Sept 30, 2024 17:53:36 GMT
It's the most bonkers film I've seen in years. I recommend seeing it. Even if you don't like it, no one can deny what an absolute meme it is I hear it's supposed to be awful, but then again it's from guys like the Critical Drinker so I don't put much stock in what they say. Is anyone else getting pissed off with the Critical Drinker? It's not even just his politics, he's so f*cking up his own arse. |
|
|
|
Post by rushy on Sept 30, 2024 17:55:50 GMT
It's the most bonkers film I've seen in years. I recommend seeing it. Even if you don't like it, no one can deny what an absolute meme it is I hear it's supposed to be awful, but then again it's from guys like the Critical Drinker so I don't put much stock in what they say. Is anyone else getting pissed off with the Critical Drinker? It's not even just his politics, he's so f*cking up his own arse. It's very in your face, but also visually spectacular. Like a weird manifesto music video |
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Sept 30, 2024 20:06:11 GMT
I prefer Dave Collins to critical drinker
|
|
|
|
Post by Ludders II on Oct 9, 2024 12:14:03 GMT
Catching up on a couple of Horrors that have been on my To Watch pile for way too long.
The Witch (2015) is a very good film, and encourages me that Eggers' upcoming Nosferatu re-make could actually be a decent film. I haven't time for details, but if folk-horror is your bag, I'd recommend it.
Hagazussa: A Heathen's Curse (2017)
Described by some as Germany's answer to above film, I have to say that despite being impressed by the former; this one wins hands down.
This is not just a 'movie' it's a work of art. It's not just something you watch, it's a whole experience. It's dark, and dank and nightmarish. If you need a film with clear and concise plot then this is not for you, as it kind of exists in the ether, but I thought was one of the best films I've seen in years.
Planning to watch Eggers' next two films; The Lighthouse (2019) and The Northman (2022) in the next few days. Looking forward to seeing what else he's brought to the table.
|
|
|
|
Post by rushy on Oct 9, 2024 21:44:07 GMT
You can tell how delighted Christopher Lee is in this scene to deliver that speech about the history of Dracula's kind in Transylvania. He's absolutely brilliant.
|
|
|
|
Post by Cherry Pepsi Maxil on Oct 9, 2024 22:10:57 GMT
Catching up on a couple of Horrors that have been on my To Watch pile for way too long. The Witch (2015) is a very good film, and encourages me that Eggers' upcoming Nosferatu re-make could actually be a decent film. I haven't time for details, but if folk-horror is your bag, I'd recommend it. Hagazussa: A Heathen's Curse (2017) Described by some as Germany's answer to above film, I have to say that despite being impressed by the former; this one wins hands down. This is not just a 'movie' it's a work of art. It's not just something you watch, it's a whole experience. It's dark, and dank and nightmarish. If you need a film with clear and concise plot then this is not for you, as it kind of exists in the ether, but I thought was one of the best films I've seen in years. Planning to watch Eggers' next two films; The Lighthouse (2019) and The Northman (2022) in the next few days. Looking forward to seeing what else he's brought to the table. The Lighthouse looks interesting. I have a thing for lighthouses probably because of Horror of Fang Rock. I've read some chilling real life stories about keepers going mad or disappearing off the face of the Earth. |
|
|
|
Post by Bernard Marx on Oct 9, 2024 22:36:28 GMT
Hagazussa: A Heathen's Curse (2017) I watched this tonight after reading your summary of it (I’d never heard of it before) and was surprised by how much I appreciated it. And our tastes don’t always align either! Many loathe this film for its withholding nature and it being nearly entirely bereft of dialogue (similar to some of the critiques levelled at Mark Jenkin’s work), but there’s loads there for one to dissect. The ever-shallow depth of field (signifying the protagonist’s inability to fully comprehend a world and society anathema to her, creating the conditions for her embracing her innate shadow and ironically *becoming* a proverbial witch), the constant emphasis on texture, the gorgeous yet oddly disquieting cinematography, the borderline psychedelic sequence amidst the lake… The film is grimy, withdrawn and superficially nebulous (as you insinuate), but I certainly wouldn’t call it aimless or amorphous. |
|
|
|
Post by Ludders II on Oct 9, 2024 22:46:01 GMT
Hagazussa: A Heathen's Curse (2017) I watched this tonight after reading your summary of it (I’d never heard of it before) and was surprised by how much I appreciated it. And our tastes don’t always align either! Many loathe this film for its withholding nature and it being nearly entirely bereft of dialogue (similar to some of the critiques levelled at Mark Jenkin’s work), but there’s loads there for one to dissect. The ever-shallow depth of field (signifying the protagonist’s inability to fully comprehend a world and society anathema to her, creating the conditions for her embracing her innate shadow and ironically *becoming* a proverbial witch), the constant emphasis on texture, the gorgeous yet oddly disquieting cinematography, the borderline psychedelic sequence amidst the lake… The film is grimy, withdrawn and superficially nebulous (as you insinuate), but I certainly wouldn’t call it aimless or amorphous. Very well put. Glad you were able to appreciate/enjoy it. As you say it's far from aimless, and strangely enough I was so absorbed by it that I barely noticed the lack of dialogue. |
|
|
|
Post by Cherry Pepsi Maxil on Oct 11, 2024 20:58:48 GMT
The Flash (2023)
Not the disaster I was expecting. In fact, I quite liked it. The first half of the film is a bit mixed with young Barry being a bit of a git throughout. Wen Keaton finally shows up in the second half the movie becomes far more engaging. Keaton steps back into the role seamlessly. I also got goosebumps when they showed the Batmobile and played the Elfman music. Sasha Calle is good as Supergirl, too. Her screentime is sadly limited but there's a lot to like about her performance. The ending also landed for me. It's a shame that *spoiler* Keaton's Batman dies, but I appreciate the almost hopeless inevitably about the end fight. Maybe I'm more open about the film because Snyder isn't involved.
7/10
|
|
|
|
Post by Cherry Pepsi Maxil on Oct 11, 2024 22:07:39 GMT
Justice League (2017)
Bloody hell, I might have to turn this off. Absolutely bloody awful. Feels like a bad parody. I haven't seen Snyder's version but I already know it is better than this. This is jizz.
|
|
|
|
Post by Ludders II on Oct 12, 2024 14:32:06 GMT
Planning to watch Eggers' next two films; The Lighthouse (2019) and The Northman (2022) in the next few days. Looking forward to seeing what else he's brought to the table. Watched these over the last couple of days. Neither of them were what I was expecting. The Lighthouse threw me a bit at first, because based on The Witch and the fact that Eggers had done a new version of Nosferatu, I went in with Horror Movie expectations, and it's not really what I would call a 'horror' film although there definitely a few elements. To be honest, I struggled with the first 30 to 45 minutes, as it seemed to take ages to get going, but it was worth persevering because I enjoyed it in the end, despite the fact that some chaps I know on a Horror Facebook page described it as: 'style over substance', 'deliberately obscure nonsense', and 'pretentious bullshit', with one chap going on to describe Eggers as a 'hipster dilettante'. Perhaps these comments added to my motivation to give it a fair go, but to be honest I'm glad I did. Pretentious? Probably. I mean I still don't really get what it was trying to say if I'm honest, but I thought it had some really good sequences and once it got going and I got used to it not being a straight Horror film, it kept me hooked. It was carried by startling performances from the two leads Willem Dafoe and Robert Pattinson, and a terrific sense of the macabre as you would expect from something based on a story by Edgar Allan Poe. Not to mention the fantastic soundtrack which I absolutely loved, and will probably get the CD, or at least a digital download Arthouse films often work, or fail to work depending on what mood you're in. For me, anyway. I'd describe this film as somewhere in between a psychological thriller and some kind of character piece on acid lol, with elements of horror and mysticism. I mentioned 'macabre', and I think that's the best word to describe it. Recommended if your tastes include a leaning towards Arthouse, and if you're patient enough for a slow burn, initially. Meanwhile, I thought The Northman was watchable and mildly diverting, but definitely the weakest and most unoriginal of the three Eggers films. If you're into 'Vikings' you'll probably enjoy it. I liked the more mystical bits, but otherwise it just 'ok'. Great cinematography and soundtrack though, which does help a lot. And an interesting cast, including familiar faces from his previous two films, alongside appearances from Nicole Kidman and Bjork. Based on the three films, I feel reasonably optimistic about his upcoming version of Nosferatu, but as previously mentioned, I doubt it will come close to Herzog's 1979 remake, in my affections. But you never know. I might be in for a nice surprise on that front, if The Lighthouse is anything to go by. I have a few more straight up Horror films in my catch up pile over the next couple of weeks: We are Still Here (2015) Saint Maud (2019) The Field Guide To Evil (2019) Starve Acre (2024) [with Matt Smith] The First Omen (2024) I'm expecting the latter to be crap, if it's anything that awful Exorcist Believer.... |
|
|
|
Post by Cherry Pepsi Maxil on Oct 19, 2024 10:39:15 GMT
 Poster for the new Karate Kid film coming out next year. Quite hyped for this one.  |
|
|
|
Post by burrunjor on Oct 19, 2024 10:45:26 GMT
The Flash (2023) Not the disaster I was expecting. In fact, I quite liked it. The first half of the film is a bit mixed with young Barry being a bit of a git throughout. Wen Keaton finally shows up in the second half the movie becomes far more engaging. Keaton steps back into the role seamlessly. I also got goosebumps when they showed the Batmobile and played the Elfman music. Sasha Calle is good as Supergirl, too. Her screentime is sadly limited but there's a lot to like about her performance. The ending also landed for me. It's a shame that *spoiler* Keaton's Batman dies, but I appreciate the almost hopeless inevitably about the end fight. Maybe I'm more open about the film because Snyder isn't involved. 7/10 Honestly it's a good film overall. It's just let down by the awful George Clooney ending. If they had gone ahead with the original plan and had Keaton show up at the courthouse at the end, with Sasha behind him, and Henry Cavill's Superman and Gal Gadot's Wonder Woman as the new Justice League it would be great. They so should have stuck with that original plan of melding the Keatonverse. Marvel have basically done that with Hugh Jackman's Wolverine and look how well it turned out. By junking everything and starting again DC have really shot themselves in the foot. Who knows how James Gunn's will pan out, but still I think dropping Keaton and Batgirl was a bad idea. |
|
|
|
Post by Bernard Marx on Oct 22, 2024 10:09:18 GMT
Before The Revolution (1964, dir. Bernardo Bertolucci). Christ, Bertolucci was my age when he made this…  Clearly French-New-Wave inspired (replete with tracking-shots, jump-cuts and extreme close-ups), this quasi-debut feature is raw and unrefined but also powerful and moving by turns. It revolves around a young middle-class academic struggling to reconcile his political idealism and socialist leanings to his bourgeoise roots, using this framework to critique an “academised” form of politics in which arch-cynicism ultimately takes over. Although revolving around a very different social milieu (middle-class rather than working-class), the film made for a worthwhile counterpoint/companion piece to Èmile Zola’s excellent novel Germinal (1885) which I’m currently reading, albeit not as confident in its approach. Although rife with insightful dialogue exchanges and an excellent diegetic soundtrack (including the occasional jazz number), the film’s protagonist ostensibly serves as an avatar for the filmmaker, himself clearly struggling with and interrogating his own political tendencies in the wake of the Italian PCI uprising. As such, despite its probing empirical observations (clearly tapping into wider nationwide uncertainties, hence its success at Cannes), the film’s overarching message isn’t fully focused, instead representing an artist in the process of working-through his own artistic/cultural development. However, I thoroughly enjoyed it nevertheless, and for a second-feature directed by a 23 year old, it’s bloody impressive. Whatever the flaws of each individual film, Italian cinema spanning from the 1940s to the 1970s has an indelible rawness and power, and I’d happily see this again later down the line.
|
|
