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We are allowed to like a source material and a movie adaption, I thought the movie adaption of V for Vendetta was great also. Alan Moore just does not like adaptions full stop, which is fair enough. Talented as he is we don't have to adopt his opinions of his work. I loved the Watchmen from my first viewing, Snyder has his haters though personally when it comes to visuals he is brilliant.
It's a videogame-ish sugar rush, almost plotless but full of eye candy. The soundtrack is awesome. Snyder brings that Snyder look, and while he's been spit on for it, I've got a feeling that more and more are beginning to reappraise his style.
I remember not knowing who this Zack Snyder was when I went to see Dawn Of The Dead '04, walking out two hours later praising him. I had been a huge fan of the Romero original for years and I was ready to pitchfork the hell out of anyone who thought he could catch the lightning in a bottle too. But he did.
Then came '300', which many people find pretentious, artistic "douchebaggery". But as a fan of Miller's book, I was having a blast with that film from start to finish.
Watchmen almost made me go "Comedian" on all the haters. Moore doesn't like anyone else doing Moore; I'm fine with that. But the film, especially in its Ultimate Cut, oozes defence and dedication. Snyder may very well be the only filmmaker so far to have made a live-action comic book adaptation that "views" like a comic (the way some comics "read" like a movie). Watchmen AND 300, by the way.
I think Watchmen was an incredible achievement. To adapt a graphic novel of that size and depth is very ambitious, and to largely succeed is impressive.
I also love his Dawn of the Dead. I don't particularly like remakes, but it was different enough from the original and it was also a barnstorming horror/zombie film that didn't pull any punches. The opening 10 minutes alone leaves the viewer frazzled!
Snyders other work i find OK in varying degrees.
Agreed. Loved it too. Together with Munich my favourite Craig film outside the 007 franchise.
2001 meets Apocalypse Now...
Was really liking this up to a point. Then it got progressively sillier as it went along.
Brad Pitt is excellent in the film, but the emotional beats just fall flat.
Some really good set pieces, stunning special effects and a lovely score just reinforces the disappointment in the overall product. Fascinating set up... Botched resolution 😒
I've been looking for this one for a while, until I happened to find it today…uhm…online, by accident. Had to watch it straight away of course, and I quite liked it. It's a nice 60's espionage thriller set in Venice, starring Robert Vaughn, Elke Sommer, Edward Asner, Boris Karloff and Luciana Paluzzi – what more could you ask for!
I see on the trivia page on IMDb that Guy Hamilton was attached to direct the film at one stage.
Had Richard Barrios not praised this little gem in his definitive book A Song in the Dark: The Birth of the Musical Film, I'd never have heard of it. Even if I had I might not have bothered. A 1930 screen operetta based on a 1903 play set in 18th century England...doesn't sound very enticing, does it? But Sweet Kitty Bellairs is genuinely sweet: an exquisitely stylized confection made by people well aware of the material's absurdity and delighted by its artificiality. Far from being a stuffy, sexless period piece, this is a saucy and buoyant pre-code escapade, free of cloying sentiment and reveling in the absurdities of powdered-wig codes of honor and sexual propriety.
It's short and sweet too. Director Alfred E. Green keeps the story galloping for 63 minutes, with tracking shots of highwaymen singing on horseback. Considering the date, this is fluid and lively film-making, not at all stagy. The witty songs move the story along and don't try to be showstoppers. The lead actors (Claudia Dell, Walter Pidgeon, and baritone Perry Askam) sparkle with irony, but Ernest Torrence walks away with the film. Playing a cloddish jealous husband, he's delighted by the role's buffoonery, sputtering into falsetto at the ends of his lines. And as a former member of the D'Oyly Carte Opera Company, he knows how to sing! Alas, by the time Sweet Kitty Bellairs was released the public had been so glutted with bad musicals that it neglected the good ones. Hence the obscurity of this bonbon of a movie.
We agree again ! Was enjoying it up to a point and i always like Pitt but botched it indeed!
Agreed on all accounts.
Great minds and all that, mate! 😁
Thought I was seeing a new SF masterpiece.... Then not so much... 😕
Yes, yes, but also: yes.
Even though it's very good, I still prefer Antonioni's earlier Italian work.
This is the only Antonioni film I've seen so far. I really like it though.
Watchmen was the film that made me take note of Snyder, and going into Sucker Punch I was aware that he was helming the next Superman film, so I was very much looking at what he was doing with special effects to see if there were any indications of what we might get in a Supes film.
Sucker Punch is a spectacle and turn your brain off fun, and there is nothing wrong with those types of films. I like FF and Resident Evil films for the same reasons, they are popcorn movies, not every film needs to be Citizen Kane or 2001.
The ladies do look good in Steam Punk outfits.
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Commando Directors Cut one of my favourite Arnie films, crazy film though a lot of fun. There are some great one liners in this one.
I'd definitely advise his unofficial trilogy on modernity:
L' avventura (1960)
La notte (1961)
L' eclisse (1962)
Antonioni's unconventional narrative style is not for everyone, but I absolutely love it.
Finally, a recent disaster flick that plays it totally straight, with minimal CGI-filled destruction mayhem and no comic relief characters.
Basically: Pending the imminent arrival of a massive comet, Gerard Butler and his family are selected to go in a secret bunker in order to survive the apocalypse. This gives a lot of emotional weight to the film once Butler's neighbors & friends realize that Butler & his family have a far greater chance of survival than them.
The film only has two big destruction scenes: when the first piece of the comet hits central Florida (seen through TV news footage), and the 'Big One' in the third act.
The film also features several brutal fist-fights and shootouts (which seemed to come straight out of a war film given the loudness of the gunshots). The legendary Scott Glenn makes a welcoming appearance at one point, and so does Holt McCallany.
All in all: a welcome addition to the disaster genre, and another great Gerard Butler action/thriller film.
Heroic Ones (1978) 4/6 (Angela Mao , John Liu) , about a list of rebels that the bad guys are after
John Liu in Paris 2/6....boring , theres no real excitement here , only positive is Paris (I didnt know you could go on the roof of Notre Dame or Arc de triomphe de l'Étoile , cool)
I remember seeing a giallo with George Lazenby that was set in Venice: Chi l'ha vista morire?
Music by Ennio Morricone as well.
CLOSELY OBSERVED TRAINS
Quirky Czechoslovak coming-of-age comedy from 1966, that won the Academy Award Best Foreign Language Film and happens to be one of the funniest films I've ever seen.