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Challenge yourself, watch this film and have a bucket to hand.
Having not read the books I can't really make any comparisons to them. I understand that there was a mass of controversy when Tom Cruise was cast in the lead role however.
I was rather suprised at how much I enjoyed it despite its cheesy/generic moments. The film has a slick, brisk pace to it and there are several excellent set pieces that are genuinely gripping and give the film a bit an edge - especially the opening scene. The performances for the most part are good, however I was a little unsure about Rosmund Pike suprisingly. Good in parts but overacted a little in others IMO.
I can't comment much on whether Cruise is a good match to the literary character, however he continues to handle himself well in the action scenes and has some well-timed comedic lines. Love him or hate him the man has charisma.
Definitely an improvement following Taken 2.
7/10
When it's on tv, I can't not watch it, no matter how many times I've already seen the film, or that I own a copy of the DVD. Michael Gross as Burt Gummer makes these films. When Burt asks Earl how long for the fuse, Earl says 15 seconds and Burt, like a boss, knows exactly how much of the fuse is needed.
Burt: Food for five years, a thousand gallons of gas, air filtration, water filtration, Geiger counter. Bomb shelter! Underground... God damn monsters.
---
Burt: If that's how we're doin it, we're going prepared!
---
Earl Bassett: What kind of fuse is that?
Burt Gummer: Cannon fuse
Earl Bassett: What the hell do you use it for?
Burt Gummer: My cannon!
---
Melvin Plug: Burt, you asshole! There's no bullets in this gun!
Burt Gummer: Got you moving, didn't it?
I will end by saying that Burt Gummer is a god of the religion Survival.
The much awaited final chapter of Edgar Wright's and Simon Pegg's unofficial Cornetto trilogy which began with the utterly brilliant Shaun of The Dead (red) is finally upon us, Since 2008's Hot Fuzz (blue) Pegg has been become a much in demand Hollywood actor and is now part of two big blockbuster franchises Mission Impossible and the recent Star Trek reboot. Wright has directed the comic book adaptation Scott Pilgrim Vs The World while despite being his strongest offering to date was a financial failure at the box office (though more than likely destined for a cult following), he has also been linked with a number of projects including Marvel's much anticipated Antman.
The fact the both have found time some five years later to finally end their trilogy shows their commitment to their fans and no. 3 (green) is while on the whole hugely entertaining feels like the least satisfying flavour of the trilogy. It's bigger, more ambitious and the budget has obviously increased, the choice to make Pegg the funny man as opposed to Nick Frost in the previous films is not as successful. His character is one that you might find hard pushed to like, he is incredibly annoying, self centered and generally a prick although it seems this is the point and like with his Nicholas Angel in Hot Fuzz his character does become more likable as the film goes on but you are unlikely to warm to him like Shaun and Sandford's finest.
Gary King (Pegg) attempts to bring his four friends Frost , Paddy Considine, Martin Freeman and newcomer Eddie Marsan together for the first time since their youth to return to their home town (the fictional Newton Haven), to complete a legendary pub crawl titled the golden mile, comprising of twelve pubs which culminates with the pub named The World's End. King has far more enthusiasm than his four other friends who's lives have obviously moved on, King is clearly living in the past, he has clearly rubbed his four friends up the wrong way in the past especially his former best friend Andy (Frost), the details which reveal themselves as the film plays out. As they continue into the night with the crawl, their hometown while familiar the group feel something is amiss and as they progress things get stranger as it appears a sinister force is at play.
After targeting Zombie's first and then buddy cop thrillers second The World's End zooms in on science fiction, and as before the two take use classics of the genre with Village of Damned an obvious influence and some riffing on the likes of Carpenter's The Thing to name a few. Considine, Freeman and the new boy Marsan are fine in support, while there are some cameo's that won't come as much of a surprise like Spaced cast members Mark Heap and Michael Smiley as well as Reece Shearsmith the film does surprise with one A lister which has pleasantly been kept a secret and after Timothy Dalton in Hot Fuzz you have wonder if Wright and Pegg collaborate again (which they say they will) which cinematic 007 will the two plump for next.
While The World's End feels British like it's predecessors, the humour is home grown although the juvenile banter can get a little grating and the characters lack the warmth of the previous entries. Though the epic explosive climax does come across as a concession to it's impending U.S release. I understand Wright and Pegg wanting to progress and give the formula a new spin but the ending feels like part of another film and one that doesn't sit ( at least for this viewer) quite right and one that might be there for an adoring American audience. It's a satisfying conclusion to the unofficial trilogy but a downgrading of expectations might be advised, it's more than likely what you expected but after the long wait not necessarily what you would have liked.
* * * 1/2 / * * * * *
How do you think it compared to the other two films in the Cornetto Trilogy @Shardlake? I admit, I'll need to rewatch it a few times on blu-ray/dvd before I'm certain but it certainly not as good as Shaun and I'm not sure if it's better than Fuzz.
I watched Argo last night and whilst I thought it was OK, I am shocked that it won Best Picture at the Acadamy Awards. It's going to be one of those films we look back on in a decade and say "Argo? Best Picture? Really?"
@chrisisall and @DarthDimi, I found 'The Legend of Hell House' on Netflix Queue. I'll be watching it tomorrow!
B-)
It's a common issue with many Best Picture winners; Chicago, A Beautiful Mind, Crash to name but a few. How many of these films often feature in "Greatest Ever Movie" polls? I'm guessing very rarely.
@WillyGalore, that's true. I do love 'Crash,' and while (as unfortunate as it is) I see it as cheap everywhere as I do the Best Picture nominee of that year 'Munich,' I think the latter should've taken the prize. Best film ever, to me.
Couldn't agree more. I can't believe it doesn't get more recognition and isn't spoken about more. It's just a $5 DVD everywhere I see it, hasn't even made it's way to blu-ray yet. But, Spielberg has been getting more on blu-ray in the past few years, so hopefully soon.
I personally find it the weakest of the trilogy, Shaun is my favourite followed by Hot Fuzz. I did enjoy TWE but it lacked the warmth and the likable characters of the previous films.
I've heard some reviews say it may reward more on subsequent viewings, I will no doubt be purchasing the Blu ray so I'll see if it improves on a second viewing but I personally can't see it surpassing the first 2 although I did enjoy a certain actors cameo which refreshingly as been kept quiet by the reviews.
Just goes to show in this internet age nothing can say a secret for long but it was nice to discover while watching the film for once rather than some inconsiderate reviewer spoil it.
Well, we're all considerably wiser since this PRISM thingy, aren't we?
Every once in a while I can stomach watching one of these Italian shock exploitation films of the early 80s. Eaten Alive! is often considered one of the leading films in the cannibal-rape genre, along with Cannibal Ferox and the cult favourite Cannibal Holocaust. Director Umberto Lenzi, who also directed Cannibal Ferox, is an experienced "giallo" filmmaker, much in the style of Fulci, Deodato, Bava and Argento. This usually implies gore before good acting, good looking ladies who aren't afraid to bare all before a quality story. It is exploitation through and through, and Eaten Alive! is no exception. Deodato's Cannibal Holocaust at least had something of value to offer for sociology majors. Eaten Alive! is just about us getting upset watching real (?) animals be slaughtered and watching women be raped and eaten.
There is a sickening effect involved, no matter how much the bad acting and gruesome storytelling pulls you out of the film. And that's where Lenzi triumphs. The appeal of these films was luckily short-lived, but some claim that it has lived on in other sub-genres of the exploitative horror film, most notably in some the more recent torture events.
So why do I watch a film like his? Call it interest. Before I spill my guts about something, I want to at least know what I'm talking about. So Cannibal Holocaust, Cannibal Ferox and this Eaten Alive! at one point found their way into my DVD collection. Other similar films, however, will forever remain below my radar. I've seen three of these now and it's quite clear they're all pretty much the same. Cannibal Holocaust is most likely the only one I will watch more than once. And to be frank, I love that film's score more than anything else.
I do not recommend Eaten Alive!, unless you have taken the same interest I have in all things horror, good or bad. Even then I hope you will watch it as homework and not as entertainment. I'm not easily upset myself but I need a good reason to see what I see. When the reason is exploitation just for the sake of it, it's not a good reason.
I haven't seen this movie before and I actually enjoyed it (as expected). Hugh and Bale are both amazing actors, Nolan is great director and everybody loves magic. Great recipe for a great movie. It could've been better but it definitely delivered as a good movie.
8/10
Also earlier this year a local cinema should some movies from couple of years ago and I got a chance to see Black Swan. Pardon my language but I loved the movie.
It became instant favorite for me. Everything in the movie was perfect. Acting,choreography, soundtrack, story, directing, cinematography,it was intense, it made me guess what would happen next and it kept me glued to the edge of the seat. Amazing, amazing movie.
Monster's Ball
Okay I'm sold. It's taken me all these years to finally see the film. Why? I don't know. Perhaps my Bond bias towards Halle and Marc Forster kept me away from it. Perhaps I wasn't sure I'd be able to swallow the material. It wasn't promised to be a comfortable experience after all. But I gave it a try and the only thing I regret is not having done so 12 years ago!
I love this film. It has heart. Both Billy Bob and Halle give a moving performance. The story is well told and touching. It's not as manipulative as I'd feared it might be. No, instead it felt like the real thing, genuine and sincere. It's not a film I will watch over and over again, but that's only because it doesn't exactly make me feel a lot happier by the end of the day. But I will re-watch it, and I will continue to be fond of it and respect it.
I feel like I am missing something. Everyone goes on and on about this film, yet I didn't find it at all earth-shattering or even spectacular. I don't think Natalie should have gotten an Oscar for it either, but when we live in a world where people like Alfred Hitchcock and Gary Oldman can't even get a little golden man, who really cares anyway?
Suffice that The Black Swan was spectacular, with many features, especially Natalie featuring a performance worthy of excellence, which she has openly displayed before and will continue to show in her films (check IMDB). In conclusion, she has risen into my heart for what she's done. Give me Portman any day, Oldman be damned.
Short and sweet, poor man's David Lynch and one of the most overrated films of the last 5 years.
I went to see it at the cinema on the back of all the raves and was not impressed, The Wrestler was a so much better film from Aronofsky for me.
Why Portman got an Oscar for it I don't t know she's never bettered her performance as Matilda in Leon (The Professional) in my view.
This is my take of it back in 2010 after viewing it theatrically.
Black Swan 2010
When dancer Nina Sayers (Natalie Portman) wins the coveted role of the Swan Queen in a production of Swan Lake replacing former star the older Beth (Winona Ryder). The dual role needing her to not only embody the White Swan (Odette) but also be the Black Queen (Odile). Already somewhat fragile due to an overbearing mother (Barbara Hershey) a former Ballerina who gave up her career to have Nina. Also she has the presence of her director Thomas (Vincent Cassell) pressuring her, feeling that she has the White Swan perfectly but needing to go to a different place in order to become the Black Swan, ordering her to try some new experiences to reach this goal. Coupled with the fact Lily (Mila Kunis) an ambitious new dancer snapping at her heels. Nina head towards completely breaking down under the pressure.
Black Swan has received some rather glowing notices as well as some critics who have been left completely cold and unimpressed. In order for the film to succeed it needs to convince us of the unraveling of the lead Portman, where I don't think she is particularly bad in the role I'm not sure she is that brilliant, her character is striving to become the darker side of the Queen and it's a given that she embodies the task at least physically as a ballerina, although her performance doesn't convince me for all it's makeup and visual flourishes that she does achieve this. Portman having the same problem that the character she is playing, oh the irony.
Darren Aronofsky makes no secret that this is very much a companion piece to the far more successful Wrestler although being a psychological thriller it inhibits the same old rawness choosing to play itself out in stark back stage surroundings, Aronofsky opting for the same techniques, shooting Portman from the back as she walks through the surrounding during the duration of the film. He must be commended for capturing the ballet sequences in a very real and visceral style, this is no glossy Hollywood product. Unfortunately it is when he attempts the visual representation of Nina's breakdown that he falls short, it's like these sequences are not weird or disturbing enough, recalling the work of David Lynch but just not enough to get under the skin and truly prick at your mind like Lynch does so effortlessly.
Aronofsky does his best to convince us of Nina's coming apart and tries to compensate for the inadequacies of Portman's performance but in the end the presence of a substandard script that tries to hammer home the whole White/Black Swan division mostly spouted by Cassell as Thomas, (he's about the best thing on display here) it's nice to see him get an english speaking role with some meat on it after being wasted on bit parts in the 2nd and 3rd Ocean's movies, he hangs over Nina with a imposing presence but his dialogue does not serve him well, here's hoping Cronenberg utilises him better alongside Viggo Mortensen and Michael Fassbender in the forthcoming A Dangerous Method.
Kunis does a spirited turn as Lily but I must question Aronofsky's decison to include the much publicised lesbian sequence, I'd like to think it wasn't for titillation but as far as I can see I don't see it's necessity and the previous scene where Nina tells Hershey what might have gone on after she returns from a drink with Lily, Portman actually exuding some of the sensuality that she needs to convince us of her transformation instead of some cheap soft porn. The film is just not a clever as it thinks and scenes like this illustrate that. Ryder clearly displaying an actress who has given her best in an underwritten and hammy turn as Beth the passed over previous star of Thomas's productions.
The final injustice must be that Portman is almost certain to bag the best actress academy award for her performance this year, Mickey Rourke was robbed in 2009 of the best actor Oscar for what is undoubtedly a career best performance as Randy (The Ram) Robinson by Sean Penn in a fine but not as electrifying turn in Gus Van Sant's impressive Milk. If Portman had a approached anywhere near the power that Rourke gave us in Aronofsky's previous and far superior film The Wrestler, this might have been a much more convincing proposition , she is yet to top her astounding debut in Luc Besson's Leon. Instead we have a film with moments, no outright ugly duckling but falling short of blossoming into a full blown Swan.
* * / * * * * *
There appears to be a number of different versions of this film available, my copy (<a href="http://ecx.images-amazon.com/images/I/51Qmg-IxSWL.jpg">this</a>; one) doesn't have the pig scene (thankfully), does have the Lizard scene and does have naked & semi-naked Ursula Andress.
Keach Movie Ranking: 9/17.
A friendly reminder that the thread's title is "Last Movie you Watched?", not "Movie you are about to Watch" @WillyGalore.
Another of the many films I saw at the festival I wanted to mention is Behind the Candelabra . Michael Douglas and Matt Damon gave excellent performances, especially Douglas. Another great film.