Last Film You've Seen
- Thread starter Cookie Monster
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Erotic Materia
[CONFUSED SCREAMING]
I loved Parasite, but for the life of me, I don't understand the praise that's been heaped onto Snowpiercer. It was so forgettable and eye-roll-inducing.
Glaurung
Forgot the cutesy in my other pants. Sorry.
- AKA
- Mama Dragon
Gladiator.
First time watching a 20yo movie
Yes, it was very good and I understand all the hype back in the day. Wish I could have watched it years ago, when I still didn't know that much about ancient warriors and how armors work (is not that I'm an expert, but I know juuuuuuuust the right amount to roll my eyes sometimes. It sucks).
Reason for not watching and forgetting it ever existed? One of my brothers wouldn't stop harping about it (he did that with stuff, while calling everything I liked "pure garbage"). He was so annoying I became fed up and erased the film's existence from my mind. Wish it had never happened that way.
Anyway, it was fun to see how Joaquin Phoenix already had a knack for playing dudes with a perchance for murder and tons of daddy issues Quite mellowed from Emperor Comodo's real life deeds. Guy was a deranged monster.
First time watching a 20yo movie
Yes, it was very good and I understand all the hype back in the day. Wish I could have watched it years ago, when I still didn't know that much about ancient warriors and how armors work (is not that I'm an expert, but I know juuuuuuuust the right amount to roll my eyes sometimes. It sucks).
Reason for not watching and forgetting it ever existed? One of my brothers wouldn't stop harping about it (he did that with stuff, while calling everything I liked "pure garbage"). He was so annoying I became fed up and erased the film's existence from my mind. Wish it had never happened that way.
Anyway, it was fun to see how Joaquin Phoenix already had a knack for playing dudes with a perchance for murder and tons of daddy issues
Quite mellowed from Emperor Comodo's real life deeds. Guy was a deranged monster.
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Keveh Kins
Pun Enthusiast
Watched the movie adaptation of A Street Cat Named Bob and bawled my eyes out. What a wonderful little creature and what a triumph.
Spent fifteen minutes blubbering to our cat after it about how much we love her and how she's so important in the family and doesn't even realise it.
Spent fifteen minutes blubbering to our cat after it about how much we love her and how she's so important in the family and doesn't even realise it.
Rydeen
In-KWEH-dible
I have a strong urge to see this one. Not sure if I wanna go to the theatre though..
Ghost X
Moderator
Watched a series of short films made by local folks at a local film festival.
The first and third film featured really strong sexual assault / predator themes, which were pretty unsettling to say the least. I'd argue poorly conceived also.
The second film was an animated short about the social impacts of the Corona virus shutdown.
There was a 19th century period piece telling the story of Indigenous women interacting with a white pregnant woman whose husband went off to war, ending in what looked like was implied to be the suicide of the white woman who miscarried during the story (in a violent altercation with a sleazy soldier), and it was told like it was a good ending to happen, which had me wtf'ing, but I may have missed something... but I'm pretty sure I didn't >.>. There was a foreshadowing Dreaming story told in the short of women who drowned, so yeah. Her husband had just returned from the war to see her sink into the ocean at the end. So yeah.
There was a strange film about a man's cat who turns into a woman, who he then dates, which to me was a cringy concept, but was somewhat funny in parts too (lots of "woman performs cat mannerisms, with subtle set up and rewarding execution"). Funniest part was the end, where the lady jumps in a pool to save her owner/boyfriend from drowning, and thus overcoming her fear of water, but it turns out it was a dream, and someone else came to the rescue instead. She turned back into a cat as a result (there was a plotline where she was told to choose whether she wanted to be a woman or a cat at the end).
Then there was a documentary about executed people's last meals, presented like a food commercial of said meals, as a critique of capital punishment among other things (critique of the rich and religious customs were also tied in), which I enjoyed. The directors were in marketing.
The final short was a well-needed and good comedy set in the future. It was about a robot serving customers, who reprograms itself to tell jokes to impress one of them, but this causes it to malfunction and experience daemons and want to end its life. Basically a story about dealing with mental illness. Given most of the films in the series had morally questionable endings, this one looked like it was heading in that direction also, but fortunately there was a happy ending instead.
The directors to most of the films then had a quick chat afterward. One of the sexual assault stories was directed by a guy who was in a relationship with the lead actress, who by the end of the production was no longer in a relationship with said actress. I really wanted to string the dots together, as I found the story so stupid and poorly executed (despite the director's claims as to otherwise, apparently he consulted experts, etc), but the actress was at the screening also, so hey.
The first and third film featured really strong sexual assault / predator themes, which were pretty unsettling to say the least. I'd argue poorly conceived also.
The second film was an animated short about the social impacts of the Corona virus shutdown.
There was a 19th century period piece telling the story of Indigenous women interacting with a white pregnant woman whose husband went off to war, ending in what looked like was implied to be the suicide of the white woman who miscarried during the story (in a violent altercation with a sleazy soldier), and it was told like it was a good ending to happen, which had me wtf'ing, but I may have missed something... but I'm pretty sure I didn't >.>. There was a foreshadowing Dreaming story told in the short of women who drowned, so yeah. Her husband had just returned from the war to see her sink into the ocean at the end. So yeah.
There was a strange film about a man's cat who turns into a woman, who he then dates, which to me was a cringy concept, but was somewhat funny in parts too (lots of "woman performs cat mannerisms, with subtle set up and rewarding execution"). Funniest part was the end, where the lady jumps in a pool to save her owner/boyfriend from drowning, and thus overcoming her fear of water, but it turns out it was a dream, and someone else came to the rescue instead. She turned back into a cat as a result (there was a plotline where she was told to choose whether she wanted to be a woman or a cat at the end).
Then there was a documentary about executed people's last meals, presented like a food commercial of said meals, as a critique of capital punishment among other things (critique of the rich and religious customs were also tied in), which I enjoyed. The directors were in marketing.
The final short was a well-needed and good comedy set in the future. It was about a robot serving customers, who reprograms itself to tell jokes to impress one of them, but this causes it to malfunction and experience daemons and want to end its life. Basically a story about dealing with mental illness. Given most of the films in the series had morally questionable endings, this one looked like it was heading in that direction also, but fortunately there was a happy ending instead.
The directors to most of the films then had a quick chat afterward. One of the sexual assault stories was directed by a guy who was in a relationship with the lead actress, who by the end of the production was no longer in a relationship with said actress. I really wanted to string the dots together, as I found the story so stupid and poorly executed (despite the director's claims as to otherwise, apparently he consulted experts, etc), but the actress was at the screening also, so hey.
Cthulhu
Administrator
- AKA
- Yop
We watched Sleeping Beauty and Malificent back to back yesterday, 
. Slept partway through the first one, honestly everything but the prince / princess has more personality than those two, . It was hurky as fuck, but the animals etc became a signature Disney thing.
Malificent was pretty good, interesting take on the story. And they had
play young Aurora,
. Slept partway through the first one, honestly everything but the prince / princess has more personality than those two, . It was hurky as fuck, but the animals etc became a signature Disney thing.Malificent was pretty good, interesting take on the story. And they had
Jolie's daughter
X-SOLDIER
Harbinger O Great Justice
- AKA
- X
I love that scene becauseMalificent was pretty good, interesting take on the story. And they hadplay young Aurora,Jolie's daughter
her kid wasn't at all scared by seeing her mom in horns & makeup and is just adorably curious. 
I think that the last film I watched was probably Bill & Ted 3, which was most excellent.
X[/v]
Prism
Pro Adventurer
- AKA
- pikpixelart
One of my friends strongly recommended Borat 2 - he said that it’s basically a wall-to-wall political mockumentary that’s surreally absurd even by today’s standards. Does that line up?
That friend and some of my other High School friends had a group online Halloween watch party last night, and we chose Midsommar. Have you guys ever watched a movie, appreciated its artistic skill and storytelling, but somehow despised the whole experience? That’s how I felt about Midsommar, more or less. It’s a fantastic movie that I never want to see again - I’d rank it more as “disturbing” than “scary.”
When it comes to Halloween movies, I think I’d take the campy 80s slashers or the fun monster movies from the silent era and onward (Nosferatu, Phantom of the Opera, etc) than this genuinely disturbing modern stuff.
That friend and some of my other High School friends had a group online Halloween watch party last night, and we chose Midsommar. Have you guys ever watched a movie, appreciated its artistic skill and storytelling, but somehow despised the whole experience? That’s how I felt about Midsommar, more or less. It’s a fantastic movie that I never want to see again - I’d rank it more as “disturbing” than “scary.”
When it comes to Halloween movies, I think I’d take the campy 80s slashers or the fun monster movies from the silent era and onward (Nosferatu, Phantom of the Opera, etc) than this genuinely disturbing modern stuff.
Rydeen
In-KWEH-dible
Yes.
Ghost X
Moderator
The Predator (2018)
Saw this movie yesterday. I'd previously seen a video critiquing the movie, absolutely tearing it apart, so I was expecting it to be pretty bad, but I would say it was surprisingly average. Presents autism in problematic ways, which made me cringe, but there was some unrelated comedy bits in the film also. The funniest part I think, without being too spoilery, was how two of the cast died, and I'm pretty sure it was done intentionally for comedic effect. Folks who have seen it may know what I'm talking about. 2.5/5 stars.
Saw this movie yesterday. I'd previously seen a video critiquing the movie, absolutely tearing it apart, so I was expecting it to be pretty bad, but I would say it was surprisingly average. Presents autism in problematic ways, which made me cringe, but there was some unrelated comedy bits in the film also. The funniest part I think, without being too spoilery, was how two of the cast died, and I'm pretty sure it was done intentionally for comedic effect. Folks who have seen it may know what I'm talking about. 2.5/5 stars.
Tetsujin
he/they
- AKA
- Tets
Loved Soul, its themes felt the most adult of all the Pixar movies I've seen. Also, there's a lot of HDR eyecandy in this. The Great Before had the most pleasing color palette <3
Lord Noctis
Harbinger of Darkness
- AKA
- Caius Ballad
I saw the new George Clooney film, The Midnight Sky.
It was ok, I suppose. Clooney was killing it, visuals were nice to look at, some wonky cgi notwithstanding, and there are a few genuinely tense scenes.
But overall when the credits rolled I just felt kinda, I dunno, underwhelmed I suppose. I don't see myself going back for a second viewing
It was ok, I suppose. Clooney was killing it, visuals were nice to look at, some wonky cgi notwithstanding, and there are a few genuinely tense scenes.
But overall when the credits rolled I just felt kinda, I dunno, underwhelmed I suppose. I don't see myself going back for a second viewing
jabloniaki
Lv. 1 Adventurer
The new Clash of the Titans, in 2D. Very good, but if you know mythology from more than just JRPGs, you may wish to repeat the MST3K mantra to yourself ("it's just a movie, I really should relax"). Djinn appear, being from Arabic folklore, and the Kraken is from Norse mythology.
Good old fashioned fun (if you've seen the original, or Ray Harryhausen's Jason and the Argonauts, it's similar in tone - this is an action romp). I loved Pete Postlethwaite's brief appearence, and I was impressed by Sam Worthington. Disappointed they made Hades the villain of the piece, but I can see where the filmmakers were coming from ("ooh, the god of hell, he must be nasty").
Good old fashioned fun (if you've seen the original, or Ray Harryhausen's Jason and the Argonauts, it's similar in tone - this is an action romp). I loved Pete Postlethwaite's brief appearence, and I was impressed by Sam Worthington. Disappointed they made Hades the villain of the piece, but I can see where the filmmakers were coming from ("ooh, the god of hell, he must be nasty").
Shademp
420
News of the World
New movie available on Netflix.
Tom Hanks plays an old man who travels from town to town in the southern US of 1870, earning his money by reading the news to townsfolk. When he comes upon a lost, orphaned girl he has to find a home for her. It becomes a road movie with familiar beats but I had a great time seeing it unfold. The two main characters are people of their time but the movie sneaks in some not-so-subtle nods to how the topics of this film are relevant even today.
It is essentially a Western but with the wholesome and sincere flair that Tom Hanks can so often bring to his roles. The movie is still on my mind 24 hours after having watched it and I feel it has earned a stay in my long-term memory.
I recommend this movie.
New movie available on Netflix.
Tom Hanks plays an old man who travels from town to town in the southern US of 1870, earning his money by reading the news to townsfolk. When he comes upon a lost, orphaned girl he has to find a home for her. It becomes a road movie with familiar beats but I had a great time seeing it unfold. The two main characters are people of their time but the movie sneaks in some not-so-subtle nods to how the topics of this film are relevant even today.
It is essentially a Western but with the wholesome and sincere flair that Tom Hanks can so often bring to his roles. The movie is still on my mind 24 hours after having watched it and I feel it has earned a stay in my long-term memory.
I recommend this movie.
Shademp
420
Nosferatu: A Symphony of Horror (1922)
2006 restoration
Seeing one of the earliest movie monsters, the vampire Orlok, was an interesting experience. The tricks employed to make the vampire other-worldly are effective and there's good reason that this monster has become so iconic. This is how you marry creature design, set design and camera techniques to build a haunting mood.
It is no secret that the movie has tones of xenophobia and anti-semitism. Indeed if you have some knowledge of the context- and period in which the movie was made, these themes can become overt and distracting. I am happy that the movie has been preserved and restored in the way that it has but the movie is also cursed because of this association with the unsavory framing of its themes.
2006 restoration
Seeing one of the earliest movie monsters, the vampire Orlok, was an interesting experience. The tricks employed to make the vampire other-worldly are effective and there's good reason that this monster has become so iconic. This is how you marry creature design, set design and camera techniques to build a haunting mood.
It is no secret that the movie has tones of xenophobia and anti-semitism. Indeed if you have some knowledge of the context- and period in which the movie was made, these themes can become overt and distracting. I am happy that the movie has been preserved and restored in the way that it has but the movie is also cursed because of this association with the unsavory framing of its themes.
It's fun to point out instances where the vampire fails as a horror device. First, there's this scene where the footage is sped up in order to make the creature look abnormally strong and fast as it stacks coffins. This comes off as comical more than anything else but I can see the intention here. In contrast, the earlier scene with the vampire's carriage that moves abnormally fast was a much more elegant choice: It signals how the main character has now moved from the normal world and stepped into a supernatural realm. A fast-moving carriage also looks less silly than a vampire stacking coffins.
Second, there is a scene where the vampire is casually walking with a coffin under his arm for an extended period of time. Before and after, the creature is always framed very intentionally as other-worldly, but in this one scene Orlok comes off as very casual, like he's an ordinary bloke just looking for a place to put his luggage.
The female lead, Ellen, is cartoonishly emotional and overdramatic. The movie wants us to think of her as a "pure woman without sin" and apparently this involves crying a lot and her being sad that her husband killed flowers by plucking them. Thankfully Ellen shows incredible strength and resolve by the end when she decides to sacrifice herself in order to defeat the vampire. She even makes sure that her husband is out of harm's way when the final encounter with the monster happens. It is very much a Jesus-type sacrifice by the end but it was effective in showing that Ellen was more than just a character who cries a lot.
Second, there is a scene where the vampire is casually walking with a coffin under his arm for an extended period of time. Before and after, the creature is always framed very intentionally as other-worldly, but in this one scene Orlok comes off as very casual, like he's an ordinary bloke just looking for a place to put his luggage.
The female lead, Ellen, is cartoonishly emotional and overdramatic. The movie wants us to think of her as a "pure woman without sin" and apparently this involves crying a lot and her being sad that her husband killed flowers by plucking them. Thankfully Ellen shows incredible strength and resolve by the end when she decides to sacrifice herself in order to defeat the vampire. She even makes sure that her husband is out of harm's way when the final encounter with the monster happens. It is very much a Jesus-type sacrifice by the end but it was effective in showing that Ellen was more than just a character who cries a lot.
Cthulhu
Administrator
- AKA
- Yop
Doom (2005), it was... actually not as bad as it was made out to be . I think the main issue was when it was released; it would have landed much better in the 80's, alongside movies like Alien and Terminator.
Then we found out there was an attempt at making another Doom film, came out in 2019. It grossed $75.000. That's it.
. I think the main issue was when it was released; it would have landed much better in the 80's, alongside movies like Alien and Terminator.Then we found out there was an attempt at making another Doom film, came out in 2019. It grossed $75.000. That's it.
Shademp
420
Nosferatu the Vampyre (1979)
Nosferatu: Phantom der Nacht
The remake of the 1922 Nosferatu, now using the actual names from the Bram Stoker novel. I wish they'd kept the names from the 1922 version however. While the original Nosferatu is an obvious Dracula rip-off, the monster design is still unique and the fact of having most of the movie take place in Germany also sets it apart from the "British" Dracula.
My primary impression from this 1979 version is "awkward". I'm not a German speaker, but both the body language and the line delivery by pretty much all the actors come across as awkward and stilted. It's painful to watch and you feel a second-hand embarrassment as well as the tension of waiting for actors to mess up. While the movie does take place in 19th century Germany, the actors (and to an extent some of the sets) make it feel more like you're watching people from modern day playing dress-up.
A lot of the film's problems really boil down to how when you increase the fidelity of the medium there is so much more work needed to suspend you in the story. Truly the same issue for any remake of an old piece: You need a way bigger budget and way more planning. The original 1922 silent film had the benefit of not just lacking sound but also of feeling like a cartoon and existing in an uncanny reality even when nothing supernatural was happening.
NOTE: The above was written before I had seen the movie's ending. The ending changed for the worse how I felt about this movie overall.
I was ready to praise this film for some of its character exploration and new scenes, but the ending makes it difficult to say anything good about the movie.
In essence: Only watch this movie if you really, REALLY want to compare with the 1922 version. Apart from that I recommend staying away from the 1979 feature.
Nosferatu: Phantom der Nacht
The remake of the 1922 Nosferatu, now using the actual names from the Bram Stoker novel. I wish they'd kept the names from the 1922 version however. While the original Nosferatu is an obvious Dracula rip-off, the monster design is still unique and the fact of having most of the movie take place in Germany also sets it apart from the "British" Dracula.
My primary impression from this 1979 version is "awkward". I'm not a German speaker, but both the body language and the line delivery by pretty much all the actors come across as awkward and stilted. It's painful to watch and you feel a second-hand embarrassment as well as the tension of waiting for actors to mess up. While the movie does take place in 19th century Germany, the actors (and to an extent some of the sets) make it feel more like you're watching people from modern day playing dress-up.
A lot of the film's problems really boil down to how when you increase the fidelity of the medium there is so much more work needed to suspend you in the story. Truly the same issue for any remake of an old piece: You need a way bigger budget and way more planning. The original 1922 silent film had the benefit of not just lacking sound but also of feeling like a cartoon and existing in an uncanny reality even when nothing supernatural was happening.
NOTE: The above was written before I had seen the movie's ending. The ending changed for the worse how I felt about this movie overall.
Though far more uncomfortable than the awkwardness of the 1979 film is how it plays up the theme of sexual predation at the end. The final sacrifice of Lucy (this movie's Ellen) becomes in essence a rape scene. I can see the multi-layered intentions with this direction. The movie spends a lot of time showing that it was not an easy choice for Lucy to ultimately give herself up in order to slay the beast. Even when the choice had been made it was difficult for the protagonist to follow through. But the rape theme is too strong and distasteful, especially for modern audiences. Thus it becomes very difficult to think about this movie at all.
I was ready to praise this film for some of its character exploration and new scenes, but the ending makes it difficult to say anything good about the movie.
In essence: Only watch this movie if you really, REALLY want to compare with the 1922 version. Apart from that I recommend staying away from the 1979 feature.
thelastmagus
Lv. 25 Adventurer
- AKA
- Cecil
Matilda was on TV the other day, so my parents and I watched that together. Pam Ferris really threw her all into the role of Trunchbull - so quotable lmfao. "TALLY HO!!" "MUCH TOO GOOD FOR CHILDREN!" "SIDDOWN BOG!"
Shademp
420
Shadow of the Vampire (2000)
What could be described as the third "Count Orlok" movie, this is a meta-fiction version where the filming of the 1922 silent film uses an actual vampire for the feature. By being mostly a "meta" of the source material, the movie is able to elevate itself beyond the original problematic themes of xenophobia and anti-semitism.
My original viewing of this movie, some twenty years ago, left a strong impact on me and it has stood the test of time as one of my top favorite vampire movies. The movie technically has two monsters: The director Murnau, played by John Malkovich, and the vampire Orlok, played by Willem Dafoe. Seeing these two crazy actors go crazy together, with Willem Dafoe absolutely chewing the scene, is a delight. How appropriate then that Nicolas Cage is attached to this movie as its producer! Three degrees of crazy in this picture.
Shadow of the Vampire is a good example of how a movie doesn't need character development. It accomplishes enough by exploring the vampire Orlok and showing how his human counterpart Murnau is very much a blood-sucking monster even though he is not a creature of the night.
I primarily have nitpicks against this movie, like some additions to the Count Orlok lore.
All that aside, I appreciate Shadow of the Vampire for existing almost as a sequel/mid-quel to the original silent film. One that isn't a terrible mess like the 1979 remake. SotV is not a perfect film and you can technically get most of its worth by seeing YouTube clips of all the Count Orlok scenes. I would recommend first watching the original 1922 Nosferatu, then either following up with Shadow of the Vampire in full or watching the Count Orlok scenes online.
My favorite scene that has stuck with me the most through all these years because of the fresh perspective it gave me on the Dracula character:
What could be described as the third "Count Orlok" movie, this is a meta-fiction version where the filming of the 1922 silent film uses an actual vampire for the feature. By being mostly a "meta" of the source material, the movie is able to elevate itself beyond the original problematic themes of xenophobia and anti-semitism.
My original viewing of this movie, some twenty years ago, left a strong impact on me and it has stood the test of time as one of my top favorite vampire movies. The movie technically has two monsters: The director Murnau, played by John Malkovich, and the vampire Orlok, played by Willem Dafoe. Seeing these two crazy actors go crazy together, with Willem Dafoe absolutely chewing the scene, is a delight. How appropriate then that Nicolas Cage is attached to this movie as its producer! Three degrees of crazy in this picture.
Shadow of the Vampire is a good example of how a movie doesn't need character development. It accomplishes enough by exploring the vampire Orlok and showing how his human counterpart Murnau is very much a blood-sucking monster even though he is not a creature of the night.
I primarily have nitpicks against this movie, like some additions to the Count Orlok lore.
In one scene they add to the lore that Count Orlok just so happens to have personally known the philosopher Plato back in the day. It's the tired trope of immortal beings just happening to know big figures from the past.
I also preferred to think of Orlok as a vampire from the 15th century, but since this Orlok knew Plato that means he is at least 2300 years old. Though seeing as he also can't remember when he was turned into a vampire, we're probably talking three millennia or older.
But that's just headcanon preference for Orlok's age and my annoyance with the immortals-met-all-ancient-celebrities trope. At least the scene with this lore reveal had a good joke in the end to contrast with the dark atmosphere of the rest of the film. That moment of levity was risky for the movie's tone but I think it paid off.
I also preferred to think of Orlok as a vampire from the 15th century, but since this Orlok knew Plato that means he is at least 2300 years old. Though seeing as he also can't remember when he was turned into a vampire, we're probably talking three millennia or older.
But that's just headcanon preference for Orlok's age and my annoyance with the immortals-met-all-ancient-celebrities trope. At least the scene with this lore reveal had a good joke in the end to contrast with the dark atmosphere of the rest of the film. That moment of levity was risky for the movie's tone but I think it paid off.
All that aside, I appreciate Shadow of the Vampire for existing almost as a sequel/mid-quel to the original silent film. One that isn't a terrible mess like the 1979 remake. SotV is not a perfect film and you can technically get most of its worth by seeing YouTube clips of all the Count Orlok scenes. I would recommend first watching the original 1922 Nosferatu, then either following up with Shadow of the Vampire in full or watching the Count Orlok scenes online.
My favorite scene that has stuck with me the most through all these years because of the fresh perspective it gave me on the Dracula character: