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Old 01.28.2014, 02:36 PM   #17801
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Quote:
Originally Posted by evollove
Did you see Adventureland? It's with Kristin, before she got big. I remember thinking how much I liked her and how I wanted to keep an eye on her future projects. Boy, was I wrong.

She's no longer a real actress. She's just "Kristin Stewart" the celebrity/product. Good or bad doesn't matter. She shows up in a movie and you either go, "She's cool" or "She's annoying" and that's about it.

All that said, I'd enjoy seeing her nipples.

adventureland…. yes yes. with zuckerberg? sure! and that snl guy. that was fun, if a bit of a cliché ending. i liked her character, and i liked her face, but she was pretty wooden though, as i recall.
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Old 01.29.2014, 01:15 PM   #17802
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An excellent atmospheric horror effort from Wise, and a film where Hammer-style theatrics are ignored in place of psychological tension and dread. Great performances from the cast, and the black and white cinematography looks fantastic. Perhaps slightly overlong (this one hits the 2 hour mark), "The Haunting" nevertheless is a stellar example of 60's horror at its finest. In fact, it comes close to being as seminal and powerful as "Carnival Of Souls" at points, so you know that this is an exemplary one. If you're into your horror stuff, this comes very highly recommended indeed.
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Old 01.29.2014, 01:57 PM   #17803
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Quote:
Originally Posted by evollove
Did you see Adventureland? It's with Kristin, before she got big. I remember thinking how much I liked her and how I wanted to keep an eye on her future projects. Boy, was I wrong. She's no longer a real actress. She's just "Kristin Stewart" the celebrity/product. Good or bad doesn't matter. She shows up in a movie and you either go, "She's cool" or "She's annoying" and that's about it.
.



Why? She was never an actress to begin with. She can't act when it comes to delivering lines, she is one of those "faces" actors, who makes faces, pantomimes, and expressive gestures. Essentially movies just pan in an out of her facial expressions.

Quote:
All that said, I'd enjoy seeing her nipples.

Meh, chalky white girl nipples are a dime a dozen, I'd be more interested in Kristen Bell yo! Damn. Years ago I watched every single damned episode of Veronica Mars religiously, rushing home from University classes and never missing a new episode for both seasons, until the honeymoon was over and I realized the acting and production was fine, but realistically I just had a huge school boy crush on Kristen Bell.

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Old 01.29.2014, 03:21 PM   #17804
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Originally Posted by MellySingsDoom
 


An excellent atmospheric horror effort from Wise, and a film where Hammer-style theatrics are ignored in place of psychological tension and dread. Great performances from the cast, and the black and white cinematography looks fantastic. Perhaps slightly overlong (this one hits the 2 hour mark), "The Haunting" nevertheless is a stellar example of 60's horror at its finest. In fact, it comes close to being as seminal and powerful as "Carnival Of Souls" at points, so you know that this is an exemplary one. If you're into your horror stuff, this comes very highly recommended indeed.

Totally agree. One of the few horror films (along with Carnival of Souls and a handful of others) that's actually frightening.
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Old 01.29.2014, 03:41 PM   #17805
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Death Wish IV.. and just for demonrail, I hated every damned minute of it, but I watched at least half an hour just out of crass spite!
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Old 01.29.2014, 04:06 PM   #17806
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philistine
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Old 01.29.2014, 04:08 PM   #17807
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Quote:
Originally Posted by demonrail666
philistine

Yes, that was definitely a Philistine movie, the first one was decent enough, but by the III or IV sequel it become not only redundant but Bronson's character devolved into a caricature of the first one.
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Old 01.29.2014, 05:57 PM   #17808
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In this case I'd obviously have to agree. I like the first one and II has a decent sleazy quality but the rot was setting in even then. III was awful though and I'm not sure I even bothered with the 4th one. But Bronson was a has-been by then. The difference is for you he's a never-was. So you're still a philistine.
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Old 01.30.2014, 03:08 AM   #17809
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dallas buyers club
so far the latter has been my fav in all aspects.


gonna look for the cocaine cowboys today. thanks.
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Old 01.31.2014, 01:13 PM   #17810
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All round decent effort from Joel and Ethan Coen in their latest film, in which folk singer/guitarist (Oscar Isaac) navigates the early 60's Greenwich Village scene, and one by one burns his bridges as he struggles to get gigs, gets a female folk singer (Carey Mulligan) pregnant, and surfs from couch to couch as he attempts to establish himself as a folk musician. An ill-fated trip to Chicago sees him sharing a car with a heroin-using jazz pianist (John Goodman), and eventually he decides to rejoin the merchant navy, but even this doesn't work out for him. Thje film ends as Issac's set at a folk club is followed by that of a somewhat well-known emerging protest-folk musician, and Isaac (after taking another beating) sees his life going absolutely nowhere.

Oscar Isaac acquits himself well as the dissolute musician who just can't seem to get anywhere. Carey Mulligan is striking and mean-mouthed at the same time, and John Goodman's role is brief but still convinving. The plot moves along at a fair old pace, and there are one of two laugh out loud moments amongst the more sombre scenes of the film. The folk music soundtrack is overall fairly decent, and the film looks very good - Greenwich Village of the time being evoked pretty well. There's a long-running meme about a runaway cat, and Garrett Hedlund's short role as a near-silent, chain smoking beat poet is certainly textbook Coen territory.

So, "Inside Llewyn Davis" is a nice addtion to the Coen oeuvre, and worth seeing, even if folk music doesn't particularly interest you. One slight issue, however: in the recording seesion scene, an electric guitar can clearly be heard on the soundtrack, even though the scene in question has acoustic guitars only. A bit early to be citing Dylan's electric period, methinks!
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Old 01.31.2014, 02:17 PM   #17811
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I disagree about Carrie Mulligan, I thought she was non convincing and also thought the John Goodman role was pretty gratuitous. The driver, who I thought was supposed to be Neal Cassidy was great, as was the sister and the club owner in Chicago. One of my favorites in a while. I also saw a few not correct for the period objects and styles, but it was all in all pretty accurately done. Left the movie house with a good feeling. A good antidote movie for either the reality is tremendously awful movies or the alternative, life is just grand and love is in the air fakiness out of Hollywuud.
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Old 01.31.2014, 02:28 PM   #17812
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Man the Coen Bros are so hit or miss for me, at least since 2000.

I HATED Oh Brother Where art Thou. fuck all that shit, the music, the period, the shitty yellow filter on the camera. I hate it all.

The Man Who Wasn't There was just plain boring.

Intolerable Cruelty I stopped watching after 10 minutes. I let my wife finish it by herself.

The Ladykillers was 1/2 funny 1/2 stupid, and not in a good way.

No Country for Old Men was amazing. AMAZING

Burn After Reading was such a piece of SHIT. Fucking horrible stupid, pointless fucking movie. such suck-ass shit.

A Serious Man was boring as FUCK as well.

True Grit I enjoyed OK, but it was a piffle. It was a unnecessary remake of a movie/book. 1/2 the time I could have given a fuck.

From 87 to 99 they made so many films I love, and only one I really HATE. That would be the fucking infuriating Hudsucker Proxy. HATE THAT FUCKING MOVIE
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Old 01.31.2014, 02:46 PM   #17813
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Coens. Love 'em or hate I guess.

INSIDE is typical Coens: perfect visuals, dark dry humor, John Goodman, and the sense after the thing ends that it ultimately doesn't have much of a point.

First four movies are great and I've watched 'em all a billion times since they came out. Since then, "hit or miss" nails it. Have they made a comedy better than Raising Arizona? A better noir than Blood Simple? Pushed themselves as far as they did in Barton Fink? Personally, I don't think so. I might add Fargo to the first four, but that's probably it.
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Old 01.31.2014, 02:52 PM   #17814
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Quote:
Originally Posted by Nefeli
dallas buyers club
so far the latter has been my fav in all aspects.

Instant classic, in my opinion.

By the way, of the nine Oscar flicks, six of them are based on true stories. Nebraska is an original script, but not Payne's. Only her and Gravity were written by the directors, and the director of Gravity co-wrote it with his son. Make of all that what you will.

--

Gonna watch Inequality for All tonight.
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Old 01.31.2014, 03:47 PM   #17815
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Oo-er, post a Coen Brothers film review and see what happens! (Nah, interested in all yer thoughts on them, as it goes)
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Old 01.31.2014, 04:19 PM   #17816
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An overall decent 90's effort from Chabrol here, in his film which follows a pair of lovers as their relationship becomes increasingly dysfunctional and twisted. Emmanuelle Beart and Francois Cluzet play the couple in question, and Cluzet becomes ever-more jealous and antagonistic, as he becomes overwhelmed with jealousy and paranoia at his belief of Beart's alleged infidelities. The film climaxes with Cluzet losing his mind, and imagining that he has "saved" his lover, whilst obsessing over images of his belief of her cheating on him.

The film is essentially set within a couple of locations, and this helps build up the increasing claustrophobia within "L'Enfer". Both Beart and Cluzet acquit themselves well in this one, with the disintegration of their relationship coming across convincingly. Nicely shot, and well paced, this comes across as a decent study in the failure of two people to understand each other both intimately and emotionally.

I do take one issue with this, though: the scene in which Beart is examined by her GP, following an incident of non-consensual sex, suddenly turns around on her, as the GP's initial caring and concern for her turns to moral disgust, as he seems to believe Cluzet's accusatory statments re. her having affairs. Not only does this scene not work at all (it comes across as very lumpy and disjointed), it also leaves a sour taste in one's mouth, as to victims of sexual assault not being believed at the drop of a pin. A rather big flaw in an otherwise convincing film for me.

"L'Enfer" is certainly worth a viewing, and is overall a fine film, but viewer be warned of the afore-mentioned scene.
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Old 02.01.2014, 09:00 AM   #17817
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Quote:
Originally Posted by evollove
--

Gonna watch Inequality for All tonight.


Will blow the minds of the clueless, but anyone who's been paying attention the past decade or so won't find the revelations herein of much use. Ends with an audience giving the subject of the film, Robert Reich, a standing ovation. Weird.
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Old 02.03.2014, 11:50 AM   #17818
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A re-watch for me of the follow up to Tobe Hooper's debut effort, "The Texas Chainsaw Massacre" ("TCM"), and is set in some un-named Southern USA/"bayou" town, where there's a hotel run by a war veteran called Judd (Neville Brand). Brand's guests at the Starlight Hotel tend not to survive their stay here for too long - from the first guest we see (a runaway from the local brothel), his guests end up being victims both to himself and a rather large crocodile, who lives in the depths of a whole heap of water next to the hotel. Other guests include a family of three (the wife/mother being Marilyn Burns from "TCM"), and the father and sister of the "missing" brothel runaway. One of the regular guests is a self-styled local "gigolo" (Robert Englund), who immediately raises the ire of Judd. As the bodies pile up, the police become involved, but to little success or intervention. Judd, in a bid to "save" her, ties Burns to the bed, and then a long chase sequence begins where Burn's daughter hides away in the crawlspace of the hotel, with Judd on her tail. Burns is eventually freed by Englund's one-night stand (Englund himself meets his end at the hands of the crocodile), and after a frenzied "chase" sequence, Judd himself finally meets his fate at the hands of the killer croc.

It would appear that director Tobe Hooper was trying to re-create the atmosphere of madness and hysteria that permeates the whole of "TCM", but he largely unsucccessful in his endeavours. The film is shot with a curious flat feel to it, and the print I viewed is rather dark in places. "Eaten Alive" seems to have been filmed all on studio sets (even the outdoor scenes), and this adds to a sense of artificiality to this film. the script (co-written by Kim Henkel ("TCM") and producer Mardi Rustam) emphasises the surface terror aspect, whilst being very low on psychological horror. The characterisations tend to be a tad on the cliched side, and Marilyn Burns' attempts to resurrect her "victim" role in "TCM", but with significantly diminishing returns. The crocodile in "Eaten Alive" is distinctly rubbery-looking, and the scenes where said croc attacks Judd's victims fail to convince at all.

On the positive side, the "found sound" score (co-composed by Wayne Bell and Tobe Hooper) is very impressive, and Robert Englund (in an early role) is convincing as the sleazy, repellent Buck. Neville Brand's Judd is entertaining and enticing as well - he veers between incoherent nutty ramblings and nutso scenery-chewing. Carolyn Jones (best known for being Morticia Addams in "The Addams Family") is also good as the unlikeable brothel madam. There are also appearances by genre stalwart Stuart Whitman, and also veteran actor Mel Ferrer (who also appeared later in the atrocious and racist "Cannibal Ferox").

"Eaten Alive" seems to be imbued with the atmosphere that permeated the classic EC Comics stable, and there are moments where a sense of dread and panic are evoked. However, for too much of "Eaten Alive", the temptation to go into "shock" mode is too much temptation for Hooper to resist, and the film really falls down here. Incidentally, this film is one that Hooper has always been less-than-keen to discuss: he had many behind the scenes rows with US schlock-meister Rustam, and Hooper has essentially distanced himself from the film. The pattern of producer interference and general fallouts has plagued Hooper's career ever since.

"Eaten Alive" certainly has its moments, and is quite an enjoyable film in its own way, but it really has none of the power and effectivess of the seminal "TCM". See this film if you know about "TCM", otherwise do go and watch Hooper's debut film instead.

Notes: "Eaten Alive" was released in the UK under the re-titling of "Death Trap", and had a (cut) cinema UK release in 1978. An uncut version of this film was later released by the Vipco label in the early 1980's, and "campaigner" Mary Whitehouse took violent exception to this film (despite never having seen it). "Death Trap" was successfully prosecuted several times under Section 2 of the Obscene Publications Act on video during the "video nasties" period, and was subsequently withdrawn in due course. "Death Trap" was finally re-issued by Vipco in 2000 in a cut version (around 30 seconds cut?), and there has never been a subsequent uncut release of this film in the UK.
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Old 02.03.2014, 12:11 PM   #17819
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I love TCM and tend to think Tobe Hooper doesn't get enough credit for a lot of what he made after it but I do find Eaten Alive almost unwatchably dull.
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Old 02.03.2014, 12:12 PM   #17820
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Originally Posted by demonrail666
I love TCM and tend to think Tobe Hooper doesn't get enough credit for a lot of what he made after it but I do find Eaten Alive almost unwatchably dull.

I quite enjoyed it a lot the first time I watched it - but as I say, it's definitely a miss rather than a hit, and am not surprised you don't care for this one.

I actually quite like "TCM2", for what its worth!
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