Return of the RECENT VIEWING

..and why not?
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pcqgod
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Re: Return of the RECENT VIEWING

Postby pcqgod » 12 Mar 2018, 15:48

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Doogtooth (2009)

Very odd film about a group of adult children who are raised in near-complete isolation from the world by their parents for reasons that are never really explained. The parents deliberately deceive the children about the nature of the outside world in various ways and leave them to participate in sadistic games they play out of boredom. Like 'The Lobster' by the same director, this could be called a dark comedy but the dark parts overwhelm the comedy mostly.
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Re: Return of the RECENT VIEWING

Postby Snarfyguy » 12 Mar 2018, 18:47

^^^ I thought that was great.
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Re: Return of the RECENT VIEWING

Postby driftin » 16 Mar 2018, 12:12

pcqgod wrote:Image

Doogtooth (2009)

Very odd film about a group of adult children who are raised in near-complete isolation from the world by their parents for reasons that are never really explained. The parents deliberately deceive the children about the nature of the outside world in various ways and leave them to participate in sadistic games they play out of boredom. Like 'The Lobster' by the same director, this could be called a dark comedy but the dark parts overwhelm the comedy mostly.

I love that film. You should check out The Killing of a Sacred Deer from the same director. It's equally absurd, off-kiler, and pitch black, where you're never sure if you should laugh or gasp and wince in horror.

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Re: Return of the RECENT VIEWING

Postby driftin » 16 Mar 2018, 12:15

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I like this a lot. It's got smart philosophical chops, beautiful visuals, a bizarre and unpredictable plot that gets more bizarre with each minute, and even a bit of pulpy John Carpenteresque monster horror for good measure. It's all of my favourite science-fiction stuff mashed into one.

What an absolute shame it has been given the straight to Netflix treatment outside of the US and apparently all because no one in the US went to see it. I'd love to see this on the big screen or at least a good blu-ray.

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Re: Return of the RECENT VIEWING

Postby pcqgod » 16 Mar 2018, 17:32

driftin wrote:
pcqgod wrote:Image

Doogtooth (2009)

Very odd film about a group of adult children who are raised in near-complete isolation from the world by their parents for reasons that are never really explained. The parents deliberately deceive the children about the nature of the outside world in various ways and leave them to participate in sadistic games they play out of boredom. Like 'The Lobster' by the same director, this could be called a dark comedy but the dark parts overwhelm the comedy mostly.

I love that film. You should check out The Killing of a Sacred Deer from the same director. It's equally absurd, off-kiler, and pitch black, where you're never sure if you should laugh or gasp and wince in horror.


Yeah, I'm interested in watching that one as well.
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Re: Return of the RECENT VIEWING

Postby Matt Wilson » 17 Mar 2018, 01:45

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The Age of Innocence

Pitch-perfect adaptation of Wharton's novel about New York upper class society in the 1870s. Much like the British novels I had to read in college, the themes deal with repression from societal attitudes towards extra marital affairs (which never happen to the main characters), ideas of decorum and putting on a public face. It's all supposed to decry the death of pre WWI values but it's really all about the suppressed acting and the gorgeous set designs/costumes. It follows the book almost perfectly. A departure for Scorcese and certainly not for everyone.
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Re: Return of the RECENT VIEWING

Postby Dor-Relip Hotels and Bathings » 17 Mar 2018, 12:53

I've seen quite a few films recently.

I, Tonya was probably the best of them - lots of fun, with a fantastic cast. Lady Bird was very good too but it reminded me of those indie flicks from 10 years ago - universal themes of love and family but with a 'quirky' feel. That's not to put it down, but I wouldn't say it was a great film. And I just watched Radio Days which was wonderful - apart from a pointless short sequence towards the end about a girl trapped down a well who was brought up dead - seemed like Woody just needed another five minutes to flesh out the film or something.
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Re: Return of the RECENT VIEWING

Postby Dr Markus » 17 Mar 2018, 14:12

driftin wrote: where you're never sure if you should laugh or gasp and wince in horror.

Sounds like watching Liverpool.
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Re: Return of the RECENT VIEWING

Postby Dor-Relip Hotels and Bathings » 17 Mar 2018, 15:51

sounds like reading one of Markus’ posts
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Re: Return of the RECENT VIEWING

Postby Goat Boy » 17 Mar 2018, 15:56

I watched You Never Really Were Here yesterday.

It's great. Go see.
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Re: Return of the RECENT VIEWING

Postby PENK » 17 Mar 2018, 23:48

driftin wrote:Image

I like this a lot. It's got smart philosophical chops, beautiful visuals, a bizarre and unpredictable plot that gets more bizarre with each minute, and even a bit of pulpy John Carpenteresque monster horror for good measure. It's all of my favourite science-fiction stuff mashed into one.

What an absolute shame it has been given the straight to Netflix treatment outside of the US and apparently all because no one in the US went to see it. I'd love to see this on the big screen or at least a good blu-ray.


I just watched it and thought it a letdown, from the perspective of someone who has read the book. It was visually striking and well-acted but intellectually muddled, full of ludicrous contrivances (so who do you pick for your scientific mission into the unknown? I know! Loose-Cannon Aggro Lesbian, Wet Blanket Wrist-Slitting Wallflower, and Basket Case Shrink Woman!) (oh! there was a loud noise as though something broke through the fence. I'll just stand right here in this handy completely open unprotected space. And then when the monster is done with me and comes back to get my friends it'll only respond to, er, I'm not sure actually, sound? Or movement? Sod it just make it work, right?) and saddled with a bafflingly stoooopid ending (oh shit, I've been waffling around with genetics and identity questions for 90 minutes and need to get this thing finished. OK, let's make a mirror monster that only acts as a mirror image when convenient and at other times acts of its own accord, and then you can give it a grenade and it'll happily walk downstairs and just blow all the bad shit up so we can finish the film. People will buy that, right?.
The book, for those who are interested, doesn't push the existentialism quite so hard, but it goes deeper, weirder and more coherent and convincing.

To be fair that monster scene with the parrot voices was pretty freaky.
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Re: Return of the RECENT VIEWING

Postby Darkness_Fish » 18 Mar 2018, 20:59

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The latest (I think) in the Conjuring franchise. I'd say the previous films (except the really crap one supposedly set in 'London') were all sub-par horror films with one or two moments that fleetingly raised the stakes. With this cliché fest, we've got straight down the middle, safe as you like, ok, average, ,competent throughout. It never raises its game, and never lowers its game. It does, however, steal from every horror you could name, even going as fat as Lloyd Webber's stage version of Phantom.

Unintentional funniest moment is when the two well-meaning owners of the newly-founded orphanage discuss whether it was a bad idea to open, given the demonic presence they'd locked away 12 years ago. I'd hate to be the script editor given the job of trying to make that sound like a natural, sensible conversation.
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Re: Return of the RECENT VIEWING

Postby harvey k-tel » 19 Mar 2018, 13:09

I watched 'Lady Bird' and 'The Cloverfield Paradox' over the weekend. 'Lady Bird' was well-acted and nice, but ultimately just inconsequential fluff, and 'The Cloverfield Paradox' was just stupid.
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Re: Return of the RECENT VIEWING

Postby pcqgod » 19 Mar 2018, 16:47

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Justice League (2017)

This one is actually pretty fun, a big improvement over the ponderous 'Batman versus Superman.' The actor who plays The Flash is great.

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The Disaster Artist (2017)

I guess it should be unsurprising that the story behind the making of 'The Room' is every bit as cringingly funny and perverse as the actual movie.

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In a Valley of Violence (2016)

Somewhat generic Western revenge story. It fails for creating a paper-thin world we never actually buy into. We don't see a lived-in small frontier town, we see a set on a back lot. We don't see a corrupt sheriff, we see John Travolta, etc.

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The Beguiled (2017)

Interesting Civil War drama in which a charming Northern soldier is given shelter in a southern school for girls.
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Re: Return of the RECENT VIEWING

Postby Dr Markus » 20 Mar 2018, 13:23

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So ridiculously badly written and formulaic it could be used for the disaster artist sequel. It's so lazy as a tv show, i'm genuinely wondering if the writer has some dirt on one of the producers and that how this got made. Stay away or tell someone you hate to watch it. Terrible.
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Re: Return of the RECENT VIEWING

Postby Goat Boy » 20 Mar 2018, 15:55

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Witchfinder General

It has a real reputation this film and I can see why even if I had reservations. It suffers from some typically hammy period acting which somewhat lessens the emotional impact of the main fellas quest for revenge but there’s a lot that’s good about it. Visually it’s unusually stylish with lots of lovely shots of the English countryside which naturally bely the horror of what’s taking place all around and it has a depth often missing from horror movies of that period. As an account of how superstition and fear can be exploited for political and personal gain it has a resonance that comfortably transcends the genres often pulpy limitations.

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You Were Never Really Here

I really, really liked this. It’s stylish (you can tell Ramsay is into photography), stripped back, minimalist and with touching moments of humanity amidst the violence that seem all the more powerful because of the movies distinctive style. If you’ve seen Ramsay before then you’ll know what to expect. She’s not one for exposition or dialogue, she’s a visual storyteller who also understands how to use music and sound in a way that escapes many film makers. There are moments here that were really great and beautiful

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Kes

For all the justified talk of its documentary style realism it’s the bucolic moments where Billy escapes the Northern drudgery with his bird that really elevate the movie for me. There’s real magic there and it made me more than a little bit nostalgic for my childhood even if the rest of Billys life is so awful. I cried like a baby at the ending. Like Bicyle Thieves it’s loss of innocence is so shattering and devastating that it’s incredibly hard to watch. If anything this is worse because it’s like seeing someones soul being crushed.
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Re: Return of the RECENT VIEWING

Postby driftin » 20 Mar 2018, 15:57

Goat Boy wrote:Image

Witchfinder General

It has a real reputation this film and I can see why even if I had reservations. It suffers from some typically hammy period acting which somewhat lessens the emotional impact of the main fellas quest for revenge but there’s a lot that’s good about it. Visually it’s unusually stylish with lots of lovely shots of the English countryside which naturally bely the horror of what’s taking place all around and it has a depth often missing from horror movies of that period. As an account of how superstition and fear can be exploited for political and personal gain it has a resonance that comfortably transcends the genres often pulpy limitations.

Image

You Were Never Really Here

I really, really liked this. It’s stylish (you can tell Ramsay is into photography), stripped back, minimalist and with touching moments of humanity amidst the violence that seem all the more powerful because of the movies distinctive style. If you’ve seen Ramsay before then you’ll know what to expect. She’s not one for exposition or dialogue, she’s a visual storyteller who also understands how to use music and sound in a way that escapes many film makers. There are moments here that were really great and beautiful

Image

Kes

For all the justified talk of its documentary style realism it’s the bucolic moments where Billy escapes the Northern drudgery with his bird that really elevate the movie for me. There’s real magic there and it made me more than a little bit nostalgic for my childhood even if the rest of Billys life is so awful. I cried like a baby at the ending. Like Bicyle Thieves it’s loss of innocence is so shattering and devastating that it’s incredibly hard to watch. If anything this is worse because it’s like seeing someones soul being crushed.

Now that's a proper trio of films right there. Love all of them.

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Re: Return of the RECENT VIEWING

Postby Darkness_Fish » 21 Mar 2018, 08:54

Kes is a class apart though. If you're going to give me Northern drudgery that looks and sounds authentic, give me Kes. It should be compulsary viewing for anyone who ever thought that Billy Elliot was in any way acceptable.
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Re: Return of the RECENT VIEWING

Postby Dor-Relip Hotels and Bathings » 21 Mar 2018, 11:04

I love the quieter scenes that D describes but there's lots of humour in the film too - especially in the first half (this is typical of Loach, I find).

The depiction of school and teachers is spot-on - the stuff with the ciggies, the PE lessons, the bullying. About as naturalistic as it gets - and it fires you up to see it.

It might be the most gut-wrenching final scene of any film I've seen. The last time I watched it, I had to turn it off five minutes before the end.
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Re: Return of the RECENT VIEWING

Postby Goat Boy » 22 Mar 2018, 15:35

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Phantom Thread

When this came out I saw a few reviews that mentioned the #metoo movement in relation to Phantom Thread and certainly on the surface it is a story about an abusive man controlling his partner but Paul Thomas Anderson is conjuring a whole lot more here and a day later I'm still processing it all. Reynolds Woodcock is an immaculately dressed control freak who works as haute couture designer for people he mostly hates. He’s an artist with a capital A: obsessive, demanding, unknowable and prone to outbusts of crippling depression that leave him bedrridden for days. He’s also a confirmed bachelor who shares his house with his sinister sister who helps run the business with him. At the start of the movie we see him having breakfast with his latest partner who he has clearly grown tired off and who will be shortly jettisoned with almost sociopathic ruthlessness. Escaping from the city one day he encounters a young German waitress called Alma (which apparently means "kind", "fostering", or "nourishing") who he is clearly enamored with instantly but their relationship is warped from the start. Partners to Woodcock are possessions, high society accessories, silent muses to be played with and controlled. On the first night Woodcock invites her back to his house but they do not make love, instead he measures her for a dress. At first Alma is compliant too but over time she begins asserts her own identity. Domestic scenes around the dinner table are intense and confrontational where such simple gestures as the buttering of toast become symptomatic of something much deeper and profound. We learn about Woodcocks past, in particular his defining relationship with his Mother (there are strong oedipal undercurrents throughout) who taught him how to make dresses and whose early death clearly shattered him. We see the beautiful dress he made for her 2nd wedding when he was just 16 in a ghostly photograph and he tells us how he keeps a lock of her hair stitched into his jacket so she is close to him at all times. In one scene at the restaurant Woodcock repeatedly visits he explains how strongly he feels her presence and how comforting this is to have her looking over him. The movies title apparently refers to a “Victorian Era phenomenon in which East London seamstresses, utterly exhausted by a long day's work, continue to go through the motions at home, sewing threads that do not exist” which is fitting because Woodcock is imprisoned by her death and his compulsion, perhaps in an attempt to somehow keep his Mother alive through his exquisite dresses.

Things build beautifully as the relationship begins to break down but then something unexpected happens to Woodcock. As Alma wakes up from her trance state something inside Woodcock does too and from here the movie becomes stranger, more elusive as the battle between Woodcock and Alma becomes more intense and sadomasochistic leading to a climax that is both thrillingly odd but also totally natural and right.

On a purely technical level the movie is ravishing. It looks fantastic. There are gorgeous scenes of smoke filled rooms that glow like a reverie and the period detail is suitably gorgeous. Jonny Greenwoods score is sumptuous but with subtle flashes of electronic discordance and Anderson directs with such assurance and skill you really feel like you in the hands of a master. Phantom Thread is beautiful, enigmatic and mysterious right until the end (even the final scenes might play as personal fantasy depending on your pov) and it will seep into your subconscious like great films tend to do. Make no mistake, on this form Paul Thomas Anderson is the greatest American director working today.
Last edited by Goat Boy on 23 Mar 2018, 18:48, edited 2 times in total.
Griff wrote:The notion that Jeremy Corbyn, a lifelong vocal proponent of antisemitism, would stand in front of an antisemitic mural and commend it is utterly preposterous.


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