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Everything about it is Rubbish. I've got the second one but won't watch it now.
In comparison: the first 'John Wick' did $88 million world wide on a $20 million budget.
@DaltonCraig007 that's a reasonable return on investment. I had read somewhere that it had flopped, but apparently not. There's hope yet.
Everything? Story? Actors? Director? Cinematography? Script? Never heard of even a bad film having everything rubbish! Just not your genre of film? Nonplussed I have to say.
I had this argument with a mate who voted Fight Club as the worst movie of all time....!
Ha ha! Yeah, because Fight Club is so crap! Some people…
Have enjoyed all of the films (Sicario, Hell Or High Water) written by Taylor Sheridan and this excellent thriller is no exception. He's also a talented director as he shows with the skill in which he handles the actors and action in this.
Excellent cast in this and Jeremy Renner and Elizabeth Olsen have great chemistry together.
Of the three films I've seen written by Sheridan I've always been impressed with his coda's. Look forward to his next project.
Awesome! Can't wait, @DaltonCraig007
Fight club is garbage
Awesome! Can't wait, @DaltonCraig007
Blimey, are you my mate Wayne in disguise!
Seriously, why do you think it's 'garbage' ?
A Better Tomorrow (1986)
Director: John Woo
Shit story and Shit acting = SHIT FILM
What a marvellous critique! Mark Kermode eat your heart out!
I don't get paid to critique movies on this site.
:))
Silly movies which is to be expected from parody movies, but when the laughts isn't there. What is left?
Lion (2016)
Decent film. Although the first half was far superior to the latter.
The Last Samurai (2003)
Nice way to spend a couple of hours.
The Two Faces of January (2014)
A modern "film-noir" so to speak. Decent enough.
Dangerous Liaisons (1988)
Meh. Had some interesting bits, but it never went anywhere.
Wonder Woman (2017)
Finally a solid DCEU movie. Gal Gadot is a bit wooden, but likable nonetheless.
LOVE the second one! Especially Lloyd Bridges and all his war injuries: ‘Here read this for me will you? My eyes are ceramic’
The same goes for me too. I always thought the character was pretty lame and one of Spidey's lesser foes. But Homecoming made me like the character and he looked pretty cool too. I hope we see him in future Spidey/MCU films.
I didn't expect Chan to be the force of nature that he is here. AND I didn't expect the twist that Brosnan was neck deep in it all. It was all slow cinematic onion-peeling. Chan and Brosnan both act up a storm here.
I'll definitely be revisiting this one on Blu Ray. Very recommended.
But since I have the really nice Blu-ray set I decided to watch them all, one or two each night over the past week.
I’ve said many times how I hated Rob Zombie’s H2, and by the time that one was next in line, I almost didn’t watch it at all. But something made me do it.
Brace yourselves for this: it.... wasn’t that bad. I had only seen it once before, in 2009 and it just rubbed me the wrong way so much that I never revisited it. That ‘white horse’ bs is all anyone talked about and I think I built it up in my head over the years, but now that it’s fresh in my head, the stupid white horse isn’t in that much of the movie.
I was really into the first few minutes in the hospital, and I dug Myers’ ‘urban legend’ status whenever he was talked about on the news— how they’d ask ‘do you think he’s still alive, do you think he’s out there somewhere’ and then it would cut to him looking like a homeless guy in the middle of the woods.
Make no mistake, it’s not a great movie, but it’s not completely without its good parts. It was insanely raw & bloody, and took itself seriously, which is more than I can say for Resurrection.....
So in years to come, when I watch Rob Zombie’s Halloween, I may just watch H2 along with it.
If you’re like me and hated it, try it again. You might surprise yourself.
Great to hear. I hope gets his shot on Bond again. It's not too late, and he's never better than on Bond. There's no safer pair of hands. If he made this on 35 million, imagine what he could do with 150 million.
This week I also took in a few noirs that bordered on the surrealistic.
First up was Welles's THE LADY FROM SHANGHAI (1947). Beginning at night and ending at dawn, the film makes you feel as though you're stumbling through a dream. This is the most interesting role I've yet to see Rita Hayworth take on. Welles's Irish accent isn't too much a distraction. The funhouse scene is of course a triumph, but I think the trial is the film's highlight. CITIZEN KANE is a great film, but count me among those who think Welles subsequent work was far more interesting. Too bad the studios ruined much of it. Who wouldn't love to see the original two-and-a-half hour cut of this?
The second dream-like noir was THE CHASE (1946), directed by Arthur Ripley. This one is more obscure, but for any noir fans I would recommend trying to track it down. Robert Cummings plays a guy who finds a wallet on the street. Going to the address listed on the ID, he discovers the owner is a gangster. From here, he meets the gangster's unhappy "dame" and, well you get the idea. Cummings's character is a WWII vet suffering from bizarre dreams, so we never quite get a firm foothold on what's real and what's not.
I also continued with my Halloween-themed watching.
I watched FRANKENSTEIN (1931) for the first time. The art direction on the film is fantastic. James Whale really manages to capture an atmosphere. The opening scene in the graveyard, for example, despite looking unreal on the face of it, incorporates that uncanniness and manages to come out the other end unsettling. A real classic that I'm glad to have finally got a chance to watch.
Cronenberg's RABID (1977) was next. Basically a take on the zombie film. Marilyn Chambers plays a girl who, on the verge of death following a motorcycle accident, is operated on using an experimental new procedure—that afterwards has her craving for human blood. Everyone she bites becomes 'rabid' and they in turn start attacking others, etc. It's entertaining enough, but the plot feels contrived. There's not much of interest in the typical Cronenbergian way: it doesn't feel as 'whacked.'
I also checked out the Argentinian filmmaker Eduardo de Gregorio's SURREAL ESTATE (1976). If anyone is familiar with the work of the writer Robert Aickman, it's very much in the same spirit. Some of David Lynch's work exists in this realm, but there's more to it. A cross between Henry James and Jorge Luis Borges, maybe. James would be the surface portion: an English writer shopping for a home in France happens upon a dilapidated estate, and is given a tour by a strange woman. And we go from there. Like James's work, the plot and grammar is quite refined but lurking underneath is something sinister. Slowly abandoning this classical mold, the film evolves into a Borgesian labyrinth, and as the writer's own story gets weirder, so too his currently in-progress novel. As he tinkers with the novel, the film seems to alter around him, as if the film and the novel are feeding off one another, creating a stranger and stranger feedback loop. It's trippy, but good and eerie.
I gave PAN’S LABYRINTH (2006) a rewatch. As great as the first time I saw it about ten years ago. Although I need now to give DEVIL'S BACKBONE another watch. Having seen it more recently, I feel that I might prefer it.
Aside from those I also watched:
THE SCOUNDREL (1971) / Jean-Paul Rappeneau - Also known as SWASHBUCKLER. An entertaining romp. Wonderful colors. Shot by Claude Renoir several years before TSWLM. I know Deakins has become something of the standard against which all modern cinematography should be judged, but Renoir's work in this film is a good example of a excellence that doesn't scream excellence.
SNOWPIERCER (2013) / Bong Joon-ho - Left a bad taste in my mouth for some reason I can't quite pin down. Bong Joon-ho's direction elevates it, certainly. Visually interesting to look at, and the action is well-conceptualized and staged, but beyond that, I didn't think much of it. The script taken by itself is horrible.
THE GREAT DICTATOR (1940) / Charlie Chaplin - I can see it as being very much a bridge film between MODERN TIMES and VERDOUX. I enjoyed it, as I have been enjoying all the Chaplin's of late. I thought the ghetto-set stuff was particularly wonderful, just the right notes of pathos and comedy, like all Chaplin's silents. The Hynkel material was more ambitious and satirical, and I think largely a success. That said, in terms of his post-MODERN TIMES work, I think I prefer LIMELIGHT most so far. It's been his least heavy-handed and his most complete effort as a director.
I finally got around to seeing this. I kept putting it off since I heard so many bad things. I have to say the negative reviews may have been this movie's saving grace for me. I went in expecting the worst but came out enjoying myself with it. I don't think it's the piece of crap it's made out to be but it's also not that great either. My main problem with it is that they tried to put too much humor in it. This "Dark Universe" should be more dark and creepy. I also think Tom Cruise shouldn't of been in it. It doesn't seem like a role he would take so it's surprising that he did. Either way I hope this "Dark Universe" pans out because it could be cool but we'll see.
The Babadook
Honestly a pretty creepy movie. The kid in it was the worst part but once the movie dives into the Babadook plot you forget about how much you hate the kid. I didn't quite understand the ending though.
I agree I thought The Mummy was ok I even bought it, I have to say the movie moved quite fast and it was entertaining I was never bored watching it.