Movies you've just watched

[sumdumgoy]

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[sumdumgoy]

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[Lord British]

Just forced myself to watch Interstellar directed by my mortal enemy.

...fuck this asshole.

Boy, it sure would be a shame if one of his haters got ahold of a short film he did years ago and is so embarrassed over, that he keeps using his company Syncopy to strike it off YouTube whenever it appears....

Maybe that's because, unlike his pretentious feature films, it's actually good?

EDIT:

Tarantella (1989) [Short film]

Spoiler

Mark Borchardt, all is forgiven. Mea culpa!

I'll check it out.

I did like and still like Memento.

[Lord British]

Okay, I wanna gauge this thread:

I want you to name me the movie/movies that scared/disturbed you so much, you never want to experience it/them ever again. Not that you wouldn't be able to, but that you're extremely apprehensive about doing so, out of sheer fear.

Spoiler

Mine's Henry: Portrait of a Serial Killer. And next to that, Eraserhead.

Both branded on me for life. No need to experience them again, 'cause the titles alone brings those feelings back like a tidal wave. Freaks me right out.

What's yours?

So I just saw most of the anime Midori (1992). Uggh.

If you're up for it knock yourself out, but read up on it before seeing
https://www.youtube.com/watch?v=iJXle882hvg&t=911s

[Lord British]

Definitely up in there in my list of "comfort films". This was my introduction to De Niro as a kid, so my impressions of him were built off him being a hero in a comic film, contrary to a gangster or nutcase. Definitely my favorite Joey Pants role, and Dennis Farina's limo moment w/ Grodin is the best clip of his career.

As always, keep up with the reviews! If you go back through I did a bunch but then I got burned out.

Yeah, that Farina moment in the limo was disquieting as hell. He could make for one hell of a villian.

You should aggregate your reviews into a placeholder post! I would totally dig into that.

Especially your reviews from that director who ran over your dog, lmao.

Updated: These are typically short "reviews" and I left out the ones that were too short

Spoiler

Rocco & His Brothers
Opening Night
The Passenger
A Design For Living
Carnal Knowledge
Senso
The Silent Partner
3 Women
Images
In A Year Of 13 Moons
Diary Of A Mad Housewife + more Frank + Eleanor Perry
Beware Of A Holy Whore
Los Olvidados
Detour
L’Âge d’Or (aka The Golden Age or Age Of Gold)
Gate Of Flesh
Onibaba
Woman In The Dunes
Near Dark
Flirt
À Nos Amours
One False Move
To Live And Die In L.A.
Dragon Inn
The Piano
A Separation
Portrait of a Lady On Fire
A Canterbury Tale
Zero For Conduct
Juliet Of The Spirits
Fallen Angels
I Vitelloni
2 or 3 Things I Know About Her
Life Is Sweet
The Iron Claw
When The Wind Blows
Life Of Oharu
High And Low
Eyes Without A Face
Diabolique
The Lady Vanishes
The Crowd
Holy Motors
Letter From an Unknown Woman
Nuts In May
The Testament of Dr. Mabuse
The Cranes Are Flying
My Life As A Dog
Good Morning
Knife In The Water
The Mother and the Whore
I was Born, But...
Three Colors: White
Morvern Callar
Titane
Man On A Swing

[sumdumgoy]

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[sumdumgoy]

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[Lord British]

Will do. I also started a Letterbox'd account this year so everything is all organized. The diary is really helpful.

https://letterboxd.com/Von_Jugel/

I've heard this mentioned but never bothered. I'll take this as my opportunity. I definitely need to be making a "to watch" list based on tons of shit in this thread.

Did you ever get one going?

[RGC]

Interested in the world of 35mm feature prints and scans?

Ah wow, thanks for taking the time to post all this. Good work with the Sounder project too. Keep us in the loop!

Midnight Run, Southern Comfort, Sounder (hadn't even heard of it until your post), half of Lord British's list... how will I ever find the time! Personally, I had to ditch the practice of "watch lists" a few years ago, after I found I was adding 3-5 movies for each one I finished. Completing films was gradually becoming a box ticking exercise, rather than one that granted the headspace for savouring each experience. I loved films as a kid, but was always more of a repeat viewer type (I imagine, like many others, given the absence of streaming back then). These days it's about striking a balance between revisiting the familiar (what's the point of buying physical discs otherwise?), and exploring the new.

A few years back, my IMDb watch list contained upwards of 350 titles! * One day I logged in, nuked the effin' lot and never looked back. Now I'll just go with whatever I'm feeling in the moment (occasionally giving myself a nudge to avoid defaulting to cozy viewing). There are gaps, there will always be gaps (even important ones), and I'm getting used to that idea...even though it sucks!

* Edit: Just discovered the appropriate term for this: Digital hoarding. It becomes an impossible mountain to climb instead of a vast expanse of possibilities to explore.

[RGC]

Easy Rider (1968) Dir. Dennis Hopper

Spoiler

I've long appreciated this film but struggle to put my finger on its appeal. The story is not all that remarkable. I don't especially love it, but give it kudos I guess for making me reflect a bit. It's bleak as hell. I always found Wyatt and Billy to be unlikely friends in the first place, especially given Wyatt's inward-gazing, contemplative nature versus Billy's antagonism and paranoia. It's hard to see how he ever came to trust Wyatt, much less revere him as “Captain America”. It suggests they were thrown together by circumstances or their recent business partnership (i.e. the coke deal they both would have stumped up cash for). Is this a straight up lamentation about the free love counterculture movement, a film about the “search for America”, all of the above, or something else?

When charming and boozy George Hanson (Nicholson) shows up, he's unperturbed by Billy's threatening manner. It transpires he also has an unusual relationship with the authoritative figures who represent the traditional ways of living (complete with corrupt shortcomings). Hanson drifts between the two worlds without ever being fully attached to either. His subsequently becoming the first victim tells us that no middle ground will be tolerated. You're either with the status quo or you’re the enemy. That there will always be people who adopt this stance (whether consciously or not), is at the heart of what makes this so fucking depressing. That's the worst part of the trip; the truth no one hoped would be revealed. Related note: If you drop acid in a cemetery, off the back of witnessing a brutal murder, and having only narrowly avoided the same fate yourself…you're gonna have a bad time! Wyatt surely wasn't so inexperienced not to realize this, so his choosing that time and place to trip felt like some last ditch attempt at finding a path to freedom. This was after a lively festival, a boatload of cash, and a couple of fun-time hookers had proven empty and devoid of meaning.

A couple of aspects that consistently reward revisits of this one for me are the incredible scenery combined with the soundtrack, which does more of the talking whenever the boys hit that open road than most of their combined dialogue. It may not be earth shattering but there's enough to make me circle back to this film's darkness every now and again.

I've only seen one or two other Hopper directorial efforts. The other one that stands out being Out of the Blue (1980). Hopper was certainly unafraid of assuming unsavoury or outright villainous roles, even when he was at the helm.

[RGC]

The Hidden Fortress (1958) Dir. Akira Kurosawa

Spoiler

I found the BFI disc kicking about in a drawer. Thought I'd give it another spin over the weekend and share some thoughts…

A sublimely fun and at times touching tale centering on two bumbling peasant farmers who attempt to navigate a path to survival – or preferably wealth – during the aftermath of a battle between two opposing clans in feudal Japan. The pair end up embroiled with an Akizuki clan general on his mission to escort a young princess (and her fortune), through enemy lines into safe territory.

The foursome comprises a rich contrasting blend: stern, petulant, greedy and oafish. Though they band together, they are largely at odds during their travels, united only by the desire to make it past the Yamana patrols to safety. They view the world from very different perspectives: The desperate, opportunistic paupers, the stoic soldier with an unwavering code of loyalty, and the princess who displays a kind of naive contempt befitting her age and status (later on, a fifth member joins them who knows only slavery and supplication). They all complete their own arc in some discernible way, most notably the princess who has led a cosseted life until this point. Her story is a “coming of age”.

General Rokurota Mikabe (Toshiro Mifune), on horseback, blade aloft in both hands, chasing down soldier witnesses before they can report having located the gold-carrying fugitives, is an iconic sequence and more than a little reminiscent of events from a certain 80s space fantasy film situated on a forest world. But let's not go there!

This has many of the hallmarks of the high adventure films of subsequent decades, but told at the unhurried pace one associates with Kurosawa. It provokes some warm fuzzy chuckles and has a surprisingly affecting scene as Princess Yuki (Misa Uehara) takes a step toward emotional maturity - a moment that is beautifully woven in as a pivotal part of the story (i.e. the group's escape from enemy captivity). Another highlight is seeing Mifune's Rokurota bedecked in military garb (complete with the clan's crescent moon adorned kabuto); having spent two hours up to that point watching him strut about in the barest rags, he looks positively badass in full combat gear! And yet another striking aspect is how dry, barren and inhospitable the terrain around them is presented.

Love the poster too:

[emphatic]

Apparently, George Lucas borrowed a big chunk of the plot and character development from The Hidden Fortress for STAR WARS (1977). Or maybe this is obvious to everyone who watches this knowing STAR WARS by heart? I love it.

[Lord British]

I've only seen one or two other Hopper directorial efforts. The other one that stands out being Out of the Blue (1980). Hopper was certainly unafraid of assuming unsavoury or outright villainous roles, even when he was at the helm.

It was actually Out Of The Blue that kicked off my whole movie deep-dive from two New Years Eve's ago.

[RGC]

Apparently, George Lucas borrowed a big chunk of the plot and character development from The Hidden Fortress for STAR WARS (1977). Or maybe this is obvious to everyone who watches this knowing STAR WARS by heart? I love it.

Yeh, it's fairly evident. I don't know why big G has been so cagey about it over the years. In the short interview he gives on the BFI dvd, he basically says a lot of the similarities were just coincidence.

[NYN]

I feel Lucas having financially saved (with Coppola) Kagemusha was about much evidence in acknowledging the debt or the theft as it gets.

[ChurchOfSolipsism]

My mistake was starting off with the only great exception to the wildly overrated anime genre, Akira. It's all been downhill from there, although there was a bit more in Perfect Blue and the Fist of the North Star movie. Mostly 'cause they did away with all the bullsh!t tropes and perversions of the genre and its makers.

Sometimes it's better to dig your feet in and stand against the tide. And that's me against anime. No, thanks.

Mate... anime is not a genre, but an aesthetic, and I'd highly recommend watching the following films before slagging them off:
- Ninja Scroll
- Cyber City Oedo
- Paprika (or anything by Satoshi Kon really... you've already seen Perfect Blue)
- most Ghibli films, but Spirited Away, Mononoke, and Kiki's Delivery Service in particular
- Ghost in the Shell 1 and 2
- Cowboy Bebop or Kids on the Slope (same director + both series have plenty of excellent jazz)

I'm not even an anime expert or anything, I'm sure there's lots more that could be added. Give 'em another chance, you're really missing out otherwise.

Re: 35mm scans, you hyped them up so much that I ordered 3 (three!!) box sets despite being in the middle of moving house and trying to get rid of as much shit as possible. I got the ones with Alien and Terminator, Return of the Living Dead, and Evil Dead. With regards to visible boom mikes and matts, I'm planning to use a programme that overlays black bars top and bottom since if you zoom in picture quality will drop significantly, no?

[NYN]

- most Ghibli films, but Spirited Away, Mononoke, and Kiki's Delivery Service in particular

- Porco Rosso: for aeroplane bounty shooter flavour; Nausicaä: for riding the Möwe and awesome air combat with massive sky fortresses; Totoro: for the roundness; Rupin III: for pre-Ghibli action caper

[Sumez]

Aw man, I was enjoying sumdumgoy's content. What happened?

[RGC]

Aw man, I was enjoying sumdumgoy's content. What happened?

I wouldn't want to speak out of turn, but he might be engaged with Novemdiales. It definitely seems quiet when he's not around!


Edit: I see what you mean now. Sumdumgoy deleted all his content. That's a proper bummer.

Another vote for Ghost in the Shell 1&2 (as someone who doesn't often engage with anime). I've been exposed to all the Ghibli films, which probably wouldn't have happened without kids. Of these, Porco Rosso (1992) is my favourite. It oozes charm, has such warm humour, and doesn't overplay the sentimentality (though it is a sentimental film, which may put you off).

@ChurchOfSolipsism, I can't speak to the technicalities of picture quality with zoom, but I used this method last night to watch Rob's 35mm scan of The Silence of the Lambs (1991) and couldn't discern any reduction in quality having zoomed just enough to mask out the microphone in the first indoor scene. Also, boy, that film still stands up! Must be twenty years since I watched it last, and I'd kinda made the assumption its impact would have been dulled through so much imitation and pop culture influence. But nope, it's still grand as fook!

Let us know how you get on with your new collections. It's quite an experience watching these untampered with scans. Silence had no noticeable splices either, whereas Texas Chainsaw... jumped a few times (which tbh only added to the grindhouse feel). I'm definitely sold on this as one method of enjoying some oldies, though like I said before, I'll still reach for the official blu-ray/4K releases from time to time, with all their revisionist pollution.

[RGC]

Not much to report this side, except this doozy:


A.W.O.L/Lionheart (1990) Dir. Sheldon Lettich

Spoiler

Unintended trash? Sure. Antithetical to art? Probably. But I maintain there are worse ways to waste your time.

Lyon escapes the foreign legion where he's serving time for a crime he didn't commit. He goes to find his hospitalized brother who got burned up when a drug deal went south. To fund the remainder of his journey from New York to L.A., Lyon partakes in some classic underground bare knuckle, fisticufs-for-cash action. The rules are there are no rules (except some unspoken ones dictating no holding up your guard while being attacked, and also fighters must pause after every punch or kick is landed, for dramatic effect). Turns out Lyon is a pugilistic dab hand, and adheres to these rules with aplomb. When he's too late to see his brother alive, he turns his attention to full time face-fisting as a means of financially supporting his bereaved sister-in-law and niece. He fights everyone from “guy in kilt” to last boss, Mr. Sideburns himself, where the stakes are really raised.

The story is throwaway. Films like this are an easy target for criticism. This one more or less achieves its goals, but could benefit from longer fights with a little more choreographic variation than exchanging heavy blows until one side spontaneously gives up. To get the most out of this one, just slacken your jaw and try not to think too much. Probably one of the better JCVD straight beatemups from that era.

[BIL]

Aw man, I was enjoying sumdumgoy's content. What happened?

Ah man, WTF... I hope he's ok. Quality new member, and you know I've seen a few members in my time (■｀w´■)

I did a runner from all hobbies for six months in 2019 outta sheer exhaustion @ super combo of moving abroad + new job + new baby + sick dog, and wondered what it'd look like if my shit was nuked when I left. Now I kinda know. 3; You were and are valued SDG, thanks for your input <333

[ChurchOfSolipsism]

Another vote for Ghost in the Shell 1&2 (as someone who doesn't often engage with anime). I've been exposed to all the Ghibli films, which probably wouldn't have happened without kids. Of these, Porco Rosso (1992) is my favourite. It oozes charm, has such warm humour, and doesn't overplay the sentimentality (though it is a sentimental film, which may put you off).

@ChurchOfSolipsism, I can't speak to the technicalities of picture quality with zoom, but I used this method last night to watch Rob's 35mm scan of The Silence of the Lambs (1991) and couldn't discern any reduction in quality having zoomed just enough to mask out the microphone in the first indoor scene. Also, boy, that film still stands up! Must be twenty years since I watched it last, and I'd kinda made the assumption its impact would have been dulled through so much imitation and pop culture influence. But nope, it's still grand as fook!

Let us know how you get on with your new collections. It's quite an experience watching these untampered with scans. Silence had no noticeable splices either, whereas Texas Chainsaw... jumped a few times (which tbh only added to the grindhouse feel). I'm definitely sold on this as one method of enjoying some oldies, though like I said before, I'll still reach for the official blu-ray/4K releases from time to time, with all their revisionist pollution.

Thanks for the info and solid recommendations re: Ghibli. Can't wait to rewatch Porco Rosse, I've only seen it once.
Silence is absolutely solid, it's not boring even for a second, and the finale is nailbiting. Fantastic film based on an excellent book.
We'll see how zooming in changes the picture quality, I'll definitely try. As I mentioned before, I watch films on a humble HD video projector and I like muh image size as bigly as possible (like 3,5 meters?) , which is why I assumed that fucking with the resolution would decrease picture quality substantially. Really looking forward to watching Alien etc. as a kinda grindhouse version

Aw man, I was enjoying sumdumgoy's content. What happened?

Ah man, WTF... I hope he's ok. Quality new member, and you know I've seen a few members in my time (■｀w´■)

I did a runner from all hobbies for six months in 2019 outta sheer exhaustion @ super combo of moving abroad + new job + new baby + sick dog, and wondered what it'd look like if my shit was nuked when I left. Now I kinda know. 3; You were and are valued SDG, thanks for your input <333

I just sent him a pm, not that I expect a reply soon...

[Lord British]

Aw man, I was enjoying sumdumgoy's content. What happened?

Very strange

[BIL]

Do...

...do we think he spilled superhot coffee on his balls >w>

VwV

[ChurchOfSolipsism]

BIL you godamn lovable moron

[BIL]

[GaijinPunch]

BIL is the VIP / GOAT. Always has an image to lift my spirits.

[BIL]

BIL is the VIP / GOAT. Always has an image to lift my spirits.

ty GP-teiou! Your presence lifts my spirit and other well-worn things too ;w;7

[ChurchOfSolipsism]

Have to admit I only understand half of what BIL's saying... don't know if that says more about him or about me, though


The substance - 7/10
(I posted this review on another message board in response to someone else's scathing critique of the film)
Feminist body horror, cool, count me in. Lots of amazingly done practical effects in a film that was too long, terribly unsubtle (they kept showing her aged finger like 15 times - ok man, I saw it/ they put up a billboard of her new show right in front of her living room, what a fucking coincidence/ all the characters are superficial hatefilled assholes/ ...), all over the place stylistic-wise (it even has wire fu when the main character's younger self kicks her older self ten meters through the air?! ok then...), the basic plot didn't make much sense (seems like the two versions have separated lives & memories - what exactly does the old version gain from the whole thing?) and the sound design, while it tried to be different from mainstream movies and I guess attempted to make the film more sensual, was so overdone (we don't need squelching to accentuate characters tongue kissing, thanks) it quickly got on my nerves. On the other hand, casting Demi Moore worked very well, her performance was good, Margaret Qualley is an incredibly attractive woman and a capable actress, and it was great to get a Cronenbergesque body horror film (with practical effects!) with a very punky vibe in mainstream cinema. Don't get The Whee's point about "gentrifying grindhouse cinema" or whatever; it's not like this film was made by "Hollywood establishment" that stole from some pure underground movement or something; a female director wrote an interesting, albeit derivative script that still had a lot going for it, for some strange reason got someone to finance the film, managed to convince a huge ex-star to take the main role and made a pretty disgusting film that failed in some respects and was successful in others but was a breath of fresh air for mainstream cinema. This "there's pure, unfiltered grindhouse/ real, raw, non-satirical art on the one side and derivative mainstream cinema on the other"-stance is oversimplified nonsense and reminds me of teenage punks' protective attitude towards their precious music. If The Substance had been released in the 80s, it would have instantly become a total cult classic and people today would still be gushing about it like they're doing with films like Night of the Creeps, Puppet Master, and Child's Play, all of which are (mildly) entertaining, but not exactly masterpieces. Again, yes, it's derivative, but so was 99% of the slop released in the 70s and 80s, and I don't see how every film has to be groundbreaking to be a good, entertaining film. Besides, audiences change as well, and I'm sure a huge number of mainstream cinemagoers were shocked by this film similar to what Texas Chainsaw Massacre and Last House on the Left did to their audiences in the 70s.

[BIL]

Have to admit I only understand half of what BIL's saying... don't know if that says more about him or about me, though

Sounds like this was all a plot to have sex Churchy-san (｀w´メ)