Return of the RECENT VIEWING

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

Postby Goat Boy » 22 Mar 2018, 15:38

In short: TV my fucking arse
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Matt Wilson
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Re: Return of the RECENT VIEWING

Postby Matt Wilson » 22 Mar 2018, 16:02

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The Drowning Pool

I reviewed Harper the other day, which this film is the sequel to, and stated that this one wasn't as good. There are a couple of recent blu ray reviews online which state that this is the superior film. I don't see it that way, but both are probably about the same in terms of entertainment. Neither is great though. Both have nice transfers and are very much of their time.
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Re: Return of the RECENT VIEWING

Postby Matt Wilson » 22 Mar 2018, 20:01

Damn, Dougie - your essay persuaded me to try to see this film tonight.
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Re: Return of the RECENT VIEWING

Postby harvey k-tel » 23 Mar 2018, 13:20

Same here. Probably not tonight, but very soon.
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Re: Return of the RECENT VIEWING

Postby Dr Markus » 23 Mar 2018, 13:25

Goat Boy wrote:
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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



Glad to hear this, the trailer had be hooked straight away and you usually can't go wrong with Phoenix.
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Re: Return of the RECENT VIEWING

Postby algroth » 23 Mar 2018, 16:58

Goat Boy wrote:Image

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 who 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.


Thoroughly agreed here. I thought it was wonderful too, and found it very interesting how the film slowly shifts from what you assume to be a classic Cavellian "melodrama of the unknown woman" (melodramas based around obsessive men trying to change their female partners to tragic effect, basically) to what is instead a duel of obsessions, where one tries to change and dominate the other, and ascertain their own person above the other's whims. The whole "#metoo" criticism feels pretty forced or shallow when in the end the film is hardly sympathetic to Reynold's abuse of women, and the whole story slowly begins to hinge more and more on how Alma won't let herself be dominated by him either. All in all it's a really superb film, and despite how gorgeous it is and so on it is so in a way that feels really effortless too, like the aesthetic never feels to be competing for your attention over any other element. Excellent stuff.

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Re: Return of the RECENT VIEWING

Postby Darkness_Fish » 26 Mar 2018, 09:05

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This low-budget British crime thing has a wildly over-egged 8.1/10 on imdb, which implies a bit of a concerted sneaky effort to artificially inflate the rating. It's not bad, concerning the fate of a hitman set-up on his latest job, seeking refuge in the flat of a single girl he's taken hostage, along with the takeaway-delivery guy. Good central performance, but it all feels a bit like a feature length Inside No 9, but without the wit and intelligence to really take it somewhere.
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Re: Return of the RECENT VIEWING

Postby Snarfyguy » 26 Mar 2018, 17:10

Not a movie, but we recently watched the third season of Better Call Saul.

It's kind of remarkable what fine dramatic actors Michael McKean and Bob Odenkirk have turned out to be.

Three Billboards Outside of Whatchamacallit up next. Looking forward, have really enjoyed all of McDonough's work to date.
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Re: Return of the RECENT VIEWING

Postby driftin » 02 Apr 2018, 14:29

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This film fills me with life and love.

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Re: Return of the RECENT VIEWING

Postby Jeemo » 02 Apr 2018, 15:00

Both with the wee guy

Black Panther - pretty good
Ready Player One - visually stunning at times, story from the big book of cliches.
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Re: Return of the RECENT VIEWING

Postby Darkness_Fish » 02 Apr 2018, 20:43

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Apparently made for Netflix, though I watched it via amazon prime. Another low-budget, sparsely-cast British thriller, following four Brits wandering through isolated Swedish countryside in tribute to a recently murdered friend. One becomes injured, so they take a shortcut through the forest, and bad shit happens. I thought it was quite well handled, it owes a lot to Blair Witch, and The Witch, but it's well paced, nicely tense, and each character has a bit of depth.
Like fast-moving clouds casting shadows against a hillside, the melody-loop shuddered with a sense of the sublime, the awful unknowable majesty of the world.

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Re: Return of the RECENT VIEWING

Postby Darkness_Fish » 02 Apr 2018, 20:48

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Watched this with my son earlier today, he's rubbish at handling tension in films, he practically starts crying, literally buries his head behind the cushions. I wish this film had affected me that much. It's decent enough, and looks good, but it's not fully engaging. I'm not convinced that portraying the hardship that a rich white western family had to go through is really the best angle to cover the sheer enormity of the tsunami, but perhaps I'm just picky.
Like fast-moving clouds casting shadows against a hillside, the melody-loop shuddered with a sense of the sublime, the awful unknowable majesty of the world.

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Re: Return of the RECENT VIEWING

Postby Darkness_Fish » 03 Apr 2018, 21:28

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Hmm. For this type of thing, it was ok. I think part of the genius behind this film, is that given the absolute apocalypse of smugly casual Superhero shite that's been fouling our screens lately, it's taken on the lack of sense-of-adventure head-on. There's no danger in films anymore, there's no-one to identify with, so lets make it as brazenly so as possible, it's all a game, you don't need to care. Ok, there's some half-arsed real-life poverty bollocks, and the usual anti-corporate message coming from a big corporations, but that's all tacked on. It's throwing a lot of pop-culture, film and video-game references at the screen, and you don't need to care, just let it wash over, and forget about it tomorrow. Rather this than Thor Ragnarok, say I.
Btw, for a great actor, Mark Rylance has been really shit in at least two films now, the other being The BFG. Awful in this, even though he has little more than a cameo, he doesn't seem to know if he's playing Garth from Wayne's World, or an autistic teenager. Just seems to hit completely the wrong notes.
Like fast-moving clouds casting shadows against a hillside, the melody-loop shuddered with a sense of the sublime, the awful unknowable majesty of the world.

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Re: Return of the RECENT VIEWING

Postby Jeemo » 07 Apr 2018, 08:42

Battle for Algiers.

I hadn't seen this in years, forgotten how powerful it was. Highly recommended if you haven't seen it.
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Re: Return of the RECENT VIEWING

Postby Darkness_Fish » 08 Apr 2018, 21:12

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British comedy horror, concerning a chubby ginger bloke, and his cocky tosspot of a friend's attempts to get him laid before his 30th birthday. Along come two attractive women, who are surprisingly eager to head off with the two, and whose intentions may be a little ... psychotic. Works better as a comedy than a horror, it's got an earthiness that really appeals, it's half Texas Chainsaw Massacre, half Shaun of the Dead. I liked it a lot.

Then ...

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Which was as poor as you'd expect it to be. I liked one of the Wrong Turn sequels, the one with Henry Rollins, which played itself for good camp fun, knowing it was shit. This just didn't have the same joie de mort. Just unpleasant from start to finish, really.

and finally ...

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Which was a belated Easter present for my wife. Really does everything you want from a daft family film, looks great, has some great performances from a quality cast, and has a heart of purest schmaltz. Lovely stuff.
Like fast-moving clouds casting shadows against a hillside, the melody-loop shuddered with a sense of the sublime, the awful unknowable majesty of the world.

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Re: Return of the RECENT VIEWING

Postby Dor-Relip Hotels and Bathings » 08 Apr 2018, 21:56

Barcelona cinema, three nights on the trot. The Florida Project, The Death of Stalin and The Shape of Water. All fucking excellent. I'm a happy boy.
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Re: Return of the RECENT VIEWING

Postby toomanyhatz » 08 Apr 2018, 23:09

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A bit disappointing, frankly. A bit cartoonish - some of the dialog in particular reads like a high school history assignment - though the acting is generally good - particularly Bruce Dern as Joe Kennedy.

Unless you're really interested in the incident - which the movie speculates on, but really doesn't offer any new facts - it's not worth rushing to see. A decent TV movie masquerading as important cinema.
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Re: Return of the RECENT VIEWING

Postby Goat Boy » 10 Apr 2018, 12:52

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Pickpocket

I’ve tried but I really don’t like Bresson.

The performances of the actors in particular, drained from any emotion always appear so listless, which is maybe the point because everybody is seemingly living in some kind of purgatorial state but it’s not something I can get with. I understand this multi-take pruning of “performance” was deliberate but the effect is distracting and artificial. I feel no emotion watching his films at all. I dislike his view of humanity too. He seems obsessed by the idea of redemption and sin which is not something I can relate to either.
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Re: Return of the RECENT VIEWING

Postby hippopotamus » 12 Apr 2018, 00:38

Just came back from seeing Isle of Dogs

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I was not sure if I would like it, but I was obviously hoping I would.
I think I've officially gone from being an apologetic Wes Anderson fan, to wanting to learn anyone who says he's just a pastiche.

One of my prevailing thoughts while watching this film, is that despite having such a definable aesthetic, he can't be said to be a one trick pony.
Even for having similarities to Fantastic Mr. Fox for being a sort of Animal-centric, stop animation. It's (another) brand new kind of film.
I think graduating through the likes of Rushmore and Royal Tannenbaums, Moonrise Kingdom was ambitious (and I decided on recent viewing, I did like it) and Grand Budapest Hotel managed to grasp at real meaning for all it's solourful whimsy. And here, even when he could get away with making an aesthetically pleasing cartoon for an established fandom who could forgive him a lot... the film manages to say a lot of things. It's nuanced... and not even ironic. I think what impressed me most is making a film in the current political climate that manages to inspire and not paint everything black and white (even if that is the prevailing colour scheme.) I also really enjoyed that a large portion of the film is unsubtitled and not explained in English, which lets the visuals do the story telling. It's just good film making.

Also, I really like dogs, so maybe I was always going to like it.

I already would like to watch it again.
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Jeemo
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Re: Return of the RECENT VIEWING

Postby Jeemo » 12 Apr 2018, 11:46

I hate his films. Don't get the appeal at all.
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