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Comments
He fixed the infamous windscreen, too. And the film received a new colour grade to fit the darkened 3D process. Looks almost as good as new.
Better than Sicario.
Yes, I enjoy it a great deal. So distinctive and effective.
Incredibly intense way to spend 90 minutes - think 'Phone Booth' with a very tiny cast and set in the middle of the desert. Quite engaging with one wild ending.
Total Eclipse (1995)
Marvin's Room (1996)
Romeo + Juliet (1996)
Early DiCaprio movies. The first two I had seen before but forgotten, they were okay. The other two I hadn't seen earlier. Marvin's Room was meh. I wanted to turn off Romeo + Juliet early on, but got used to the style, and eventually quite enjoyed it - I thought it was the best of this bunch.
Shine (1996)
Okay.
Primal Fear (1996)
Edward Norton's film debut is still one of his best performances. He's an interesting actor and I'd like to see more of him in good roles/movies. (The general opinion today seems to be that Sam Rockwell is perfect casting as George W. Bush, and maybe so, but I must say I was quite intrigued by the rumored possibility of Norton in that role. Oh well.)
Her Majesty, Mrs Brown (1997)
I'll certainly want to see Victoria and Abdul, with Judi Dench again as Queen Victoria, 20 years later...
Seven Years In Tibet (1997)
Pretty interesting actually.
Gattaca (1997)
I had forgotten the story. It was okay I guess.
Robinson Crusoe (1997)
Watched just out of curiosity because of Brosnan, but this was a really bad movie.
The Cider House Rules (1999)
A re-watch. Pretty good on the whole.
Tea With Mussolini (1999)
Okay.
Sleepy Hollow (1999)
A re-watch. I quite liked it when it was new, apparently don't anymore. I remembered it looked good, and it still does. Lubezki though (I didn't know that), so that explains that.
Holy Smoke! (1999)
A re-watch. Kinda interesting.
The Sand Pebbles (1966) starring McQueen
The Man in the Iron Mask
Guardians of the Galaxy Vol. 1 & 2
Didn't think even Marvel studios could produce such fun and jokey films. These weren't even the type of films I would expect from the Marvel studios. These were actual comedies. I was surprised to see Sylvester Stallone , Ving Rhames and Michelle Yeoh in a Marvel film (and small cameo from the great Hoff himself)
The first one was a bit jumpy with it's plot, but the second one had all the characters in place and the stakes were high. Which I didn't get from volume one.
Took a bit time to see these two, since, unlike dc movies, I can wait longer to see.
That description really interests me. I will look out for this one.
One of the last movies he made (2008) before his death in 2009. Man, he still had it. This is a hyper-violent film though, very rough. Good choreography, excellent production values and locations, okay story. His White Crane is like seeing a very pissed off version of Kwai-Chang Caine...
Recommended for fans of the genre.
I have just got back from seeing this film on the big screen. I've read the books, and enjoyed them. I was looking forward to seeing the character go from page to screen, and hopefully a film series. I don't think there is going to be another film. Reviews have been negative, and the showing I went to (the first screening of the day at 14:50) had only two people in the room, including myself. It isn't really fair to compare it to Bond, as Stratton, the film, had a noticeably smaller budget than what Bond gets. Credit must be given to Dominic Cooper, who had only 8 weeks to go through all sorts of training. I think he did an excellent job, and would have like to see him reprise the character. A lot has been made of the attempt at a British accent by Connie Neilsen, as Strattons MI6 boss. On the scale of attempts at a British accent by non-Brits, it is definitely on the better side of the scale.
Probably the best of the LoTr trilogy.
Agreed.
Last movie for me: Logan (2017)
A very good film that does a tremendous lot right. Probably one of the best made "franchise" films that's come out in a long time. I wasn't so enthused about
Few horror films had managed to give me a really good scare in a long time, when one day in 2005 I attended a showing of THE DESCENT, completely unspoiled, and had one hell of a horror experience. I walked out praising Neil Marshall as a director and writer, and also thinking this one could easily end up in my top 3 of scariest horror flicks from the early 2000s.
Juno, Holly, Beth, Rebecca, Sam and Sarah are six brave young women who have made a habit out of doing something adventurous and risky on an annual basis. Daredevil Juno has put together a cave diving session for this year; but unbeknownst to the other girls she has sought out an unmapped cave system, hoping to claim it after a successful exploration. When part of the narrow entrance to the cave collapses, the six are left entirely on their own to find a way out. For Sarah, who lost her husband and child in a car accident the year before, this bit of spelunking was supposed to serve a therapeutic function. Little does she know that darker truths will be revealed during this adventure, and also, that she and her companions aren't alone.
Countless horror films have warned us never to abandon familiar turf. The more desolate things get, the more danger we're typically in. And one cannot get much more desolate than a pitch black cave system hidden deep in wild woods. Neil Marshall takes the well-established horror trope just a little further (or deeper) than the usual rural America settings of such films as THE TEXAS CHAINSAW MASSACRE and THE HILLS HAVE EYES, but he adds so much more in other departments. Surrounded by constant blackness, swimming in dead silence and squeezed into a claustrophobia inducing narrowness, we are urged to fight against disorientation while paying attention to literally every little sound that reverbes between the rocks. The all-female cast, consisting of relatively unknown actresses, helps tremendously in avoiding typical testosterone fuelled conflicts and cheesy romances. Lastly, David Julyan's eerie score strongly enhances the mood of the film.
With very little money and a simple script but perfect 'horror' timing and a concept that is pretty original despite itself, THE DESCENT packs more punch in the 'scary' department than my companion was able to stomach when we were watching the film in the theatre. He literally jumped up twice and struggled to suppress actual screams during the film. And yet, not everyone will enjoy this film the way he and I and many others did and still do. Because if you can't get in the mood, or if you decide to watch this film in broad daylight (in which case: good luck seeing anything at all on your screen), or if the Lovecraftian elements of the film fail to grab you, you may be disappointed. That said, I'm relatively desensitized from all those years of watching horror films and yet even now, on repeat viewings, I find THE DESCENT morbidly effective. In terms of survival horror, this cheap little film stands out for me as one of the greats and certainly one of my favourites.
5/5
THE DESCENT PART 2 (2009)
Jon Harris made his directorial debut with the inevitable sequel to the surprise hit THE DESCENT, while Marshall stayed on board as executive producer only. Taking place practically immediately after the original film's events, THE DESCENT PART 2 sends a rescue party back into the caves in an attempt to find survivors. But even with better equipment and guns, the new team proves no match for the evil that dwells within the caves.
It's a well-known fact that many exciting, refreshing and scary horror films can catch lightening in a bottle only once. Since we are aware of what awaits us down in the caves, very little can be done to send those same chills down the spine again. Truthfully, THE DESCENT 2 tries hard; it even brings back characters from the first film when you least expect it and Julyan returns for another great albeit repetitive scoring session. But getting back into the caves and getting stuck there again, feels forced and clichéd. More blood doesn't make it new blood; more gore doesn't make it more effective. In my opinion, THE DESCENT is one of those films that should never have been cursed with a sequel.
Fans of the first film can watch the sequel as a gratuitous addendum, like reading a comic book adaptation of your favourite movie after seeing it. It's decent enough to sit through with some fun. But "some fun" is all you will get. The surprise element is gone, the tension and deeper character building from the previous film too.
THE DESCENT 2 wasn't a hit, unlike its predecessor, and put a full stop to a series that should never have attempted to be one in the first place. After DOOMSDAY and CENTURION, both failures in the financial department, Neil Marshall went on to direct episodes in several television series. My love for DOG SOLDIERS and THE DESCENT notwithstanding, I've more or less lost interest in his career. Maybe his announced Hellboy film will bring him back to form. But my gratitude for that simple yet effective cave horror film will always remain, and my respect for its sequel, while weaker, means I get to spend twice as long in those caves, if not with twice the pleasure.
3/5
I only ever read the book by Lewis Wallace as a kid, so did not remember much besides the chariot race( with a scene that may have inspired something similar in Goldfinger, and with animal abuse much worse than in NSNA), and the galley sequence to a certain extent. Boy, did they know how to make epic movies back then. Interesting that they never show the face of Jesus.
I love that film. The 1080p BR version looks amazing!
Had a lot of fun with this film, no it's not the reinvention of the wheel and the pacing seems more leisurely than the trailers might have implied.
Apart from the first Oceans film 11 that series does nothing for me and no LL doesn't match up to that what for me is Soderbergh's best blockbuster of his career, the sequels were the usual diminishing return and frankly rather smug and annoying.
Logan Lucky is essentially Ocean's 11 repostioned to the deep south. Tatum & Driver make most likeable leads and Driver in particular has a dry delivery which is great.
Although I'm fooling no one the reason why quite few of us being fan of a particular British actor (not all maybe) went to see this is Craig. Now outside of TGWDT I've not seen anything that DC has signed onto since becoming Bond (possibly Flashback of a Fool) that suggests his agent was looking after his best interests. From the first taste of Craig in the trailers though it was clear we were seeing something quite different and Daniel had obviously decided to go all in.
Bravely adapting the southern accent and not being afraid to add some ham, appropiately mind. You can tell he's having a ball and despite Tatum & Drivers best efforts walks off with all his scenes and quite possibly the whole film.
Those that do catch it (the film hasn't actually set the box office alight which is a shame) used to seeing Craig immacutely dressed and deadly as 007 might be quite surprised but those of us familiar with his career before Bond will know DC is quite a brave performer and can set the screen alight dramatically, now he can add comedy to his list of talents, Joe Bang is a great creation.
Not sure about Seth Rogen's terribly cockney accented arrogant celebrity ( see Don Cheadle in the Oceans films) and Hilary Swank isn't at her best. Though despite a change in pace, the film does seem to be making a balancing acting between slick heist flick and something gentler and warmer.
I think it just about wins out for me and had a great few hours, though some trimming might have been advisable. Soderbergh's go to music guy the talented David Holmes provides some great toe tapping cues littered amongst some contemporary classics.
4/5
@peter as you can see I did have a better time with it nothing mind blowing or revolutionary and I have noted my issues, loved DC as you can see and was so happy for him, he can do it he just needed the right role and Joe Bang might well change the direction of his casting. Once he's finished Bond I'm hoping to see more of that character actor emerge again.
Agreed it also has some great documentarys and the sequel to Forbidden Planet on the extras, well The Invisible Boy is a sequel of sorts. The disk is one of my favourites BD special editions.
Like I said before: the cast was brilliant (with special kudos to DC-- this didn't surprise me. The guy really is a terrific actor, and I hope too, that we will see plenty more roles from him after Bond); it was shot well with great music.
But the trimming you talked about was grating me-- and with the excess fat, I feel the tone got a little wonky. What exactly was the film trying to be?
I love heist films, and I though the weakest and most tension-free part of the film, was the actual heist.
The pacing was all over the place (when i wanted to see more development (like at the beginning when Channing's fired), to get to know the characters more, the film moves too fast; then when I felt it should have a little more hustle to it (prison scenes post Joe Bang, and the third act), it just dragged)...
For a heist film, it seriously lacked tension, and it was only from the (mostly) honest performances, that I had any interest to see what would happen at the end.
It felt like an underdeveloped script; so underdeveloped, that I wonder if Soderbergh actually wrote a script, or did he shoot an outline, and let the actors improvise most of their lines?
It felt weird to tack Swank on in the last ten minutes. What would have increased tension for me, would be to bring her in way sooner. Perhaps her agent was assigned to the sporting event since they caught wind that there may be an attempted robbery of the facility. To have her presence there earlier, stomping around the arena, especially when odd things like credit machines start crashing, would have given the film some stakes.
Having some kind of threat to the heist, like Swank's character was sorely needed.
In the end, I am happy you found more enjoyment in the film than I did. Like you, I was very happy to see DC let loose; and I'm enjoying the discovery of Driver's quirkiness that he seems to bring to everything I've seen him in so far.
The structure does seem a little weird at times but strangely it didn't seem to drag for me, would I buy it and return to it regularly?
I don't think so personally I don't think it has the return factor that Oceans 11 has.
Swank turning up when she does seem off though and the pace could have been dialed up a bit more, maybeI'm letting the acting colour my enjoyment of the film more than the actual story and construction of the film.
Granted if the performance from the 2 leads and DC had been so good it wouldn't have been as good for me.
I also liked what Holmes bought to the films as he always does for Soderbergh, would love to see him tackle a Bond score.
That's the one it's interesting listening to the influences of all the great film makers of our youth.
I will rewatch it because I feel the trailers were misleading in what I was expecting. Now that I know its slow I will rewatch it with that in mind and see if I actually like it. For example, one fo my favorite films, Silence, I hated when i first saw it because it was slow and underwhelmimg, however I revsited it and loved it becuase I knew how slow it was and didnt expect it to pick up and I was able to love the more subtle film making behind the masterpiece. So ill give LL a second chance.
LL felt like the director wanted to shoot his "really cool idea", that fails to go anywhere.
It had no reason to have a running time over two hours!