What was the last movie you saw?
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Lucien21
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How it Ends
New Netflix original movie about a mysterious apocalypse event that happens to Seattle means that Forest Whittaker and his daughters boyfriends need to solve their differences as they travel cross country to see if daughter is still alive.
Total waste of two hours which felt more like a car commercial at times than a movie. Also the irony of the title considering the way the end the film is hilarious.
dont't watch.
New Netflix original movie about a mysterious apocalypse event that happens to Seattle means that Forest Whittaker and his daughters boyfriends need to solve their differences as they travel cross country to see if daughter is still alive.
Total waste of two hours which felt more like a car commercial at times than a movie. Also the irony of the title considering the way the end the film is hilarious.
dont't watch.
Anthoney
Bearded Member
It was like the laughed at us, "Ha ha made you watch!" Then poked us in the eye.
Victoria Silverwolf
Vegetarian Werewolf
Frankenstein and the Monster From Hell (1974)
Last in the Hammer/Cushing/Frankenstein series. Starts in typical style, with a guy digging a body out of a grave to sell to a fellow doing Mad Science. This particular experiment, however, is not being done by Frankenstein, but by a young man (strikingly handsome Shane Briant*) who happens to have a book of Frankenstein's work. Well, the young man gets arrested for practicing sorcery and is thrown into the same insane asylum where Frankenstein wound up. Wouldn't you know it: the asylum's physician is none other than Frankenstein, presumed dead but now known as Doctor Victor. (It seems that the heavy-drinking, lustful director of the asylum lets him get away with this deception because Frankenstein knows about the director's Dark Secret.) Frankenstein plans to revive the body of an incredibly strong inmate who died while escaping, then replace his brain with that of a genius. As you might expect, things go very badly indeed. Along for the ride is a beautiful mute young woman who assists Frankenstein, apparently with no objection at all to what's going on. (Her muteness and, I assume, her lack of emotion have to do with that Dark Secret I mentioned a while back.) Overall, this is pretty decent Hammer Horror, although the monster suit, which looks like some kind of ape-man, is pretty bad.
(*Odd bit of trivia: According to IMDB, the same actor plays the same character in something called Sherlock Holmes vs. Frankenstein, which is listed as "announced.")
Last in the Hammer/Cushing/Frankenstein series. Starts in typical style, with a guy digging a body out of a grave to sell to a fellow doing Mad Science. This particular experiment, however, is not being done by Frankenstein, but by a young man (strikingly handsome Shane Briant*) who happens to have a book of Frankenstein's work. Well, the young man gets arrested for practicing sorcery and is thrown into the same insane asylum where Frankenstein wound up. Wouldn't you know it: the asylum's physician is none other than Frankenstein, presumed dead but now known as Doctor Victor. (It seems that the heavy-drinking, lustful director of the asylum lets him get away with this deception because Frankenstein knows about the director's Dark Secret.) Frankenstein plans to revive the body of an incredibly strong inmate who died while escaping, then replace his brain with that of a genius. As you might expect, things go very badly indeed. Along for the ride is a beautiful mute young woman who assists Frankenstein, apparently with no objection at all to what's going on. (Her muteness and, I assume, her lack of emotion have to do with that Dark Secret I mentioned a while back.) Overall, this is pretty decent Hammer Horror, although the monster suit, which looks like some kind of ape-man, is pretty bad.
(*Odd bit of trivia: According to IMDB, the same actor plays the same character in something called Sherlock Holmes vs. Frankenstein, which is listed as "announced.")
Nozzle Velocity
Well-Known Member
Planet of the Vampires 1965 directed by Mario Bava. If you've never seen this film , your missing a really terrific film .
I picked this up on blu-ray a few weeks ago, replacing my prehistoric VHS copy of auld. It was never available in America during the laserdisc & DVD eras. Amazing to finally see it in full 1.85:1 screen width. Maybe not all that sharp in HD compared to other films of the time, but the deep Bava color really stands out. Creepy, good fun.
Anthoney
Bearded Member
Happy Death Day. A horror sci-fi film made for less than five million dollars. It starts as a sorority girl slasher movie. The sorority girl ends up caught in a time loop that repeats after each time she's murdered. Like Groundhog day meets Scream. Since it made 55 million at the box office the sequel is already in post production.
Zoe, (2017) a story about love between a human and a "synthetic" (understand an AI which can pass as a human). At one level this was an interesting study about what really qualified as "alive" and what was a "human relationship." On this level it succeeded quite well. On the other hand, it was a very traditional love story about a man who can's commit and a woman who loves him.
Victoria Silverwolf
Vegetarian Werewolf
The Four Skulls of Jonathan Drake 1959 This is a very an underrated horror classic.
I like this one also, mainly because it's genuinely weird.
Jeffbert
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- 1,904
Thanks, Vince W; I long ago quit comic books (except manga) so I would not know about such things.
Bullitt (1968) Seeing this again, I realized all I remembered were the chase scene & the conflict between McQeen's & TMFU's (cannot recall Napoleon Solo's actor's name) characters. Other than those parts, it was like seeing it for the 1st time! I think some of the non-automotive chases were odd
if they were going in to the airliner to arrest the guy, they might have had a cop below the plane's rear door waiting for the guy to leap.
The Odessa File (1974)
Political thrillers were popular in the 1970s, this one based on the novel by Frederick Forsythe, itself based on the existence of a real Odessa, an organization of former Nazi SS officers formed to help the rats flee the sinking ship of Nazi Germany. I first saw this – and maybe last saw this -- in the theaters back in ’74 with my dad, so there’s a bit of nostalgia hanging on to my memory of it – really, when it starts with a Christmas song written by Andrew Lloyd Weber and Tim Rice and sung by Perry Como, how could nostalgia not be part of it? And it’s not bad. Set in 1963 and beginning the day of Kennedy’s assassination, Jon Voigt as Peter Miller, a German reporter with a conscience, puts in a good performance pursuing Eduard Roschmann, former commandant of Riga; there’s a twist there that’s telegraphed, though. Simon Wiesenthal is represented and the deficiencies of the West German government in pursuing war criminals is trumpeted no doubt accurately but maybe with a smidge too much smugness. (I know I read the novel but no longer remember it; I don’t retain an impression of soap box pronouncements or pounding home a point.) Mary Tamm plays Sigi, Miller’s girl-friend whose main function early on is to point out Miller’s immaturity and lack of conscience, and after he gains his quest, she gets to act concerned; late in the movie she’s allowed a couple of good scenes, but mostly she’s an enabler for Miller to mature. Maximillian Schell as Roschmann is under-used, pretty much portraying him as a standard sadistic Nazi war criminal which, from what I’ve read online may actually be an accurate portrayal of the real Roschmann, but it’s not entirely satisfying in a movie. On the whole, worth watching for the cinematography and location shots, but the movie lacks a bit of tension.
Klute (1971)
Better than I remembered, but then again I saw an edited for TV version back in the 1970s. Jane Fonda (who won an Oscar for this role) plays Bree, a high-priced call girl, trying to go straight as an actor, but without success. Donald Sutherland is John Klute, one of the few non-eccentric roles I’ve seen Sutherland play, a detective hired by his friends to solve the murder of a mutual friend. Klute’s investigation leads him to Bree, who had known the friend. Or maybe not. The actual murderer is known to the audience from early on which emphasizes the threat to Bree and allows the director, Alan Pakula, to focus on the interactions and evolving relationship between Bree and Klute. Fonda and Sutherland are excellent, location cinematography in NY City is fine, the pace and progression of the story, the push-me-pull-you of attraction and trust/distrust and power struggle expertly portrayed. Maybe one of the best mystery/crime movies ever.
Randy M.
Political thrillers were popular in the 1970s, this one based on the novel by Frederick Forsythe, itself based on the existence of a real Odessa, an organization of former Nazi SS officers formed to help the rats flee the sinking ship of Nazi Germany. I first saw this – and maybe last saw this -- in the theaters back in ’74 with my dad, so there’s a bit of nostalgia hanging on to my memory of it – really, when it starts with a Christmas song written by Andrew Lloyd Weber and Tim Rice and sung by Perry Como, how could nostalgia not be part of it? And it’s not bad. Set in 1963 and beginning the day of Kennedy’s assassination, Jon Voigt as Peter Miller, a German reporter with a conscience, puts in a good performance pursuing Eduard Roschmann, former commandant of Riga; there’s a twist there that’s telegraphed, though. Simon Wiesenthal is represented and the deficiencies of the West German government in pursuing war criminals is trumpeted no doubt accurately but maybe with a smidge too much smugness. (I know I read the novel but no longer remember it; I don’t retain an impression of soap box pronouncements or pounding home a point.) Mary Tamm plays Sigi, Miller’s girl-friend whose main function early on is to point out Miller’s immaturity and lack of conscience, and after he gains his quest, she gets to act concerned; late in the movie she’s allowed a couple of good scenes, but mostly she’s an enabler for Miller to mature. Maximillian Schell as Roschmann is under-used, pretty much portraying him as a standard sadistic Nazi war criminal which, from what I’ve read online may actually be an accurate portrayal of the real Roschmann, but it’s not entirely satisfying in a movie. On the whole, worth watching for the cinematography and location shots, but the movie lacks a bit of tension.
Klute (1971)
Better than I remembered, but then again I saw an edited for TV version back in the 1970s. Jane Fonda (who won an Oscar for this role) plays Bree, a high-priced call girl, trying to go straight as an actor, but without success. Donald Sutherland is John Klute, one of the few non-eccentric roles I’ve seen Sutherland play, a detective hired by his friends to solve the murder of a mutual friend. Klute’s investigation leads him to Bree, who had known the friend. Or maybe not. The actual murderer is known to the audience from early on which emphasizes the threat to Bree and allows the director, Alan Pakula, to focus on the interactions and evolving relationship between Bree and Klute. Fonda and Sutherland are excellent, location cinematography in NY City is fine, the pace and progression of the story, the push-me-pull-you of attraction and trust/distrust and power struggle expertly portrayed. Maybe one of the best mystery/crime movies ever.
Randy M.
Caesar Must Die (2012)
An absolutely engrossing and fascinating movie from the Taviani brothers. It's based on real life and appears to be a fly on the wall documentary but it's actually a dramatisation of a regular event that takes place in Italy's high security wing of Rebibbia Prison - the staging of plays. In this particular case, the play in question is Julius Caesar and the performers are actual inmates of the prison - every one a hardened criminal, a couple of them murderers. The film follows the play through rehearsals to performance and, as it does so, draws startling parallels between the inmates code of honour and the group of Caesar's assassins and their own methods.
It's a truly thought provoking work that takes the concept of the play within a play into new territory and is definitely worth a look. The most moving thing about this film is the way the prisoners become liberated by entering the world of acting. They open their minds to new possibilities and new ways of thinking only for that to be taken away from them when the play comes to an end.
One final point: after this movie was released, one of the inmate performers was pardoned and now treads the boards in his chosen profession as an actor. Life imitating art? Or vice versa?
An absolutely engrossing and fascinating movie from the Taviani brothers. It's based on real life and appears to be a fly on the wall documentary but it's actually a dramatisation of a regular event that takes place in Italy's high security wing of Rebibbia Prison - the staging of plays. In this particular case, the play in question is Julius Caesar and the performers are actual inmates of the prison - every one a hardened criminal, a couple of them murderers. The film follows the play through rehearsals to performance and, as it does so, draws startling parallels between the inmates code of honour and the group of Caesar's assassins and their own methods.
It's a truly thought provoking work that takes the concept of the play within a play into new territory and is definitely worth a look. The most moving thing about this film is the way the prisoners become liberated by entering the world of acting. They open their minds to new possibilities and new ways of thinking only for that to be taken away from them when the play comes to an end.
One final point: after this movie was released, one of the inmate performers was pardoned and now treads the boards in his chosen profession as an actor. Life imitating art? Or vice versa?
HanaBi
Nexus 9.1 For Sale. One Careful Owner
Bullitt (1968) Seeing this again, I realized all I remembered were the chase scene & the conflict between McQeen's & TMFU's (cannot recall Napoleon Solo's actor's name) characters. Other than those parts, it was like seeing it for the 1st time! I think some of the non-automotive chases were odd
perhaps, unnecessary, is better than odd.[/QUOTE]
I watched Bullitt last night, and not for the first time either; and I still can't believe this film is FIFTY years old!!
Despite being a routine thriller, along with that seminal car chase (which still stands up well against its more contemporary thrillers), what really stands out for me is the opening credits along with Lalo Schifrin's trademark score!
"Lock, Stock and Two Smoking Barrels" (1998) - Jason Statham, Vinnie Jones, Jason Fleming, Nick Moran
Synopsis (courtesy of Wiki) - "Eddy (Nick Moran) convinces three friends to pool funds for a high-stakes poker game against local crime boss Hatchet Harry. Harry cheats and Eddy loses, giving him a week to pay back £500,000 or hand over his father's pub. Desperate, Eddy and his friends wait for their neighbours to rob some drug dealers, then rob the robbers in turn. After both thefts, the number of interested criminal parties increases, with the four friends in dangerously over their heads."
The film that brought director, Guy Ritchie into the big league, despite working on a film with a budget of barely a £1m along with a mostly unknown cast!
Very slick for its time, and I seem to recall enjoying it tremendously when I first saw it at the turn of the century. However, on repeat viewings it has lost its edginess and has just become a rather routine thriller with some lame humour thrown in. Ex-footballer, Vinnie Jones looks menacing and broody as the "debt collector"; and Jason Statham shines brightly here with his witty personality and jack-the-lad good looks, which would elevate him to Hollywood and all those "Transporter" and "Crank" films.
Other than that, Lock Stock, is an okay film for a Friday night, a curry and a few drinks.
3/5
if they were going in to the airliner to arrest the guy, they might have had a cop below the plane's rear door waiting for the guy to leap.
I watched Bullitt last night, and not for the first time either; and I still can't believe this film is FIFTY years old!!
Despite being a routine thriller, along with that seminal car chase (which still stands up well against its more contemporary thrillers), what really stands out for me is the opening credits along with Lalo Schifrin's trademark score!
"Lock, Stock and Two Smoking Barrels" (1998) - Jason Statham, Vinnie Jones, Jason Fleming, Nick Moran
Synopsis (courtesy of Wiki) - "Eddy (Nick Moran) convinces three friends to pool funds for a high-stakes poker game against local crime boss Hatchet Harry. Harry cheats and Eddy loses, giving him a week to pay back £500,000 or hand over his father's pub. Desperate, Eddy and his friends wait for their neighbours to rob some drug dealers, then rob the robbers in turn. After both thefts, the number of interested criminal parties increases, with the four friends in dangerously over their heads."
The film that brought director, Guy Ritchie into the big league, despite working on a film with a budget of barely a £1m along with a mostly unknown cast!
Very slick for its time, and I seem to recall enjoying it tremendously when I first saw it at the turn of the century. However, on repeat viewings it has lost its edginess and has just become a rather routine thriller with some lame humour thrown in. Ex-footballer, Vinnie Jones looks menacing and broody as the "debt collector"; and Jason Statham shines brightly here with his witty personality and jack-the-lad good looks, which would elevate him to Hollywood and all those "Transporter" and "Crank" films.
Other than that, Lock Stock, is an okay film for a Friday night, a curry and a few drinks.
3/5
- Joined
- Sep 9, 2011
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- 5,300
I'd have said 3.5 at least. Statham was very good in this film and as a caper film it was quite fun and Vinnie Jones was stellar. Two tins of lager, a vindaloo - half and half - and this film is gold.
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