jake scully
Kiznaiver
Yes - and a very fair election which even a lot of Republicans say so - but the very right wing, lying always and misogynist Trump can’t get his dumb head around it
Rate the Last Film You Watched
- Thread starter Professor Irony
- Start date
jake scully
Kiznaiver
I agree about Sorcerer- it’s an excellent thriller from Friedkin - I’ve the UK blu ray but it’s a shame no commentary and Friedkin is interviewed by the overrated and annoying director Nicholas Winding Rehn
jake scully
Kiznaiver
I saw that on tv when. i was a kid and I didn’t know her name at the time but Caroline Munro
jake scully
Kiznaiver
I saw the film Rebecca on tv a while ago but never considered it to be one of his best even though Hitchcock was Oscar nominated - which can be mean nothing to be honest - but I prefer his later films especially Vertigo / one of my fave top ten of all time
zrdb
Adventurer
Oh my god she was smoking hot! And as for Sorcerer, I remember watching it back in the 70's and needless to say I hated it.I saw that on tv when. i was a kid and I didn’t know her name at the time but Caroline Munro
The Gladiators (AKA Peace Game, 1969)
Peter Watkins's cold war satire posits the interesting idea of world leaders staving off the hunger for armed conflict by instead staging an international, live-fire combat game that coincidentally becomes a reality tv hit. Although pleasingly shot with the same documentary style immediacy that typifies much of the director's other work, the film is sadly somehow both laughably broad in its clownish depiction of world leaders and also weirdly obstuse about what it's actually trying to say, lacking the brutal shock immediacy of both The War Game and Punishment Park. It's fitfully amusing and did hold my attention (despite the dodgy copy I watched missing English subtitles for the many scenes in Swedish and French), but I think much of what might once have played as absurdist humour is now undermined by the fact that a corporate sponsored, reality tv war just doesn't seem that implausible anymore.
Cruising (1980)
Without trying to unpick the controversy surrounding William Friedkin's thriller about the hunt for a serial killer targeting gay men in NYC, I was a little struck by how ordinary the film actually feels now. The broodingly noirish cinematography is still great; even in the height of summer, everything about the city is stark, pale and washed out, but aside from the fleeting last glimpse of hedonistic pre-AIDS nightlife and some occasional unintended hilarity (if Al Pacino was on poppers, would we really know the difference?), it feels like a fairly rote murder mystery with little to distinguish it from the cycle of similarly voyeuristic slasher films released around the same time. There are hints of a far more interesting film happening on the sidelines (a cynical trans sex worker arguably steals the show, for example), but the main story plays out as much as you'd expect, and even the ambiguous ending just struck me as a bit lazy, by the time it rolled around
Peter Watkins's cold war satire posits the interesting idea of world leaders staving off the hunger for armed conflict by instead staging an international, live-fire combat game that coincidentally becomes a reality tv hit. Although pleasingly shot with the same documentary style immediacy that typifies much of the director's other work, the film is sadly somehow both laughably broad in its clownish depiction of world leaders and also weirdly obstuse about what it's actually trying to say, lacking the brutal shock immediacy of both The War Game and Punishment Park. It's fitfully amusing and did hold my attention (despite the dodgy copy I watched missing English subtitles for the many scenes in Swedish and French), but I think much of what might once have played as absurdist humour is now undermined by the fact that a corporate sponsored, reality tv war just doesn't seem that implausible anymore.
Cruising (1980)
Without trying to unpick the controversy surrounding William Friedkin's thriller about the hunt for a serial killer targeting gay men in NYC, I was a little struck by how ordinary the film actually feels now. The broodingly noirish cinematography is still great; even in the height of summer, everything about the city is stark, pale and washed out, but aside from the fleeting last glimpse of hedonistic pre-AIDS nightlife and some occasional unintended hilarity (if Al Pacino was on poppers, would we really know the difference?), it feels like a fairly rote murder mystery with little to distinguish it from the cycle of similarly voyeuristic slasher films released around the same time. There are hints of a far more interesting film happening on the sidelines (a cynical trans sex worker arguably steals the show, for example), but the main story plays out as much as you'd expect, and even the ambiguous ending just struck me as a bit lazy, by the time it rolled around
jake scully
Kiznaiver
Just watched The Emperor Of Paris again & it’s a brilliant film loosely based on the real life ex-con & detective Francois Vidocq
DragoStark
School Idol
I watched The Hobbit Trilogy. They were ok. I heard people saying they were awful but they weren't that bad. A few pacing issues sure, and it didn't always keep my full attention but they were enjoyable nontheless.
I think my fav scene was the barrel escape in TDoS. Great fun.
I think my fav scene was the barrel escape in TDoS. Great fun.
Cut and Run (1985)
Still morbidly curious about whether there's anything to Ruggero Deodato as a director beyond video-nasty notoriety, I thought I'd give this one a go. A lurid mix of action and horror, it follows a scoop-hungry TV reporter and her cameraman to the jungles of South America in search of a US hostage, only to get caught up in the escalating violence between a Jonestown-style cult and the local drug producing gangs.
Despite a strong cast for an Italian b-movie of the time (most notably including sitcom star Willie Aames and professional swivel-eyed loon Michael Berryman) and a decent premise apparently derived from an unmade Wes Craven script, the film suffers the usual Italo-exploitation pitfalls of being padded, incoherent and frankly just a bit boring. The cult-leader adds a welcome touch of Apocalypse Now to the proceedings, but it's often so difficult to tell what is happening to who and why, that I just found it hard to care by the time he turns up. It also looks like the film wants to say something about the ghoulish nature of news-reporting, but the intriguing device of the reporters beaming their footage back to the studio adds absolutely nothing.
Interestingly, the unrated cut restores some particularly grubby grue, including a couple of admittedly impressive gore effects if that's your thing, but I find it difficult to recommend this one. I do still kind of want to see Deodato's much nuttier looking Raiders of Atlantis, but I'm not holding out much hope.
Still morbidly curious about whether there's anything to Ruggero Deodato as a director beyond video-nasty notoriety, I thought I'd give this one a go. A lurid mix of action and horror, it follows a scoop-hungry TV reporter and her cameraman to the jungles of South America in search of a US hostage, only to get caught up in the escalating violence between a Jonestown-style cult and the local drug producing gangs.
Despite a strong cast for an Italian b-movie of the time (most notably including sitcom star Willie Aames and professional swivel-eyed loon Michael Berryman) and a decent premise apparently derived from an unmade Wes Craven script, the film suffers the usual Italo-exploitation pitfalls of being padded, incoherent and frankly just a bit boring. The cult-leader adds a welcome touch of Apocalypse Now to the proceedings, but it's often so difficult to tell what is happening to who and why, that I just found it hard to care by the time he turns up. It also looks like the film wants to say something about the ghoulish nature of news-reporting, but the intriguing device of the reporters beaming their footage back to the studio adds absolutely nothing.
Interestingly, the unrated cut restores some particularly grubby grue, including a couple of admittedly impressive gore effects if that's your thing, but I find it difficult to recommend this one. I do still kind of want to see Deodato's much nuttier looking Raiders of Atlantis, but I'm not holding out much hope.
jake scully
Kiznaiver
I used to have the uncut Anchor Bay dvd of this film and it was forgettable imo - Deodato did a better job with Cannibal Holocaust
Yeah, I thought it looked decent in the trailer, but I think it was the old story of the trailer having all the best bits.
Pink Flamingos (1972)
Must confess, I did not make it to the end of this one.
John Waters's most infamous midnight movie, the story of two rival groups feuding over the right to call themselves 'the filthiest people alive', is probably best known for its notorious finale, but there is a definite appeal to it beyond sheer shock value. It's a film that wants to do its very best to offend you, but does so with a wink and a smile, most usually from Divine, whose camp charisma does a lot of the heavy lifting. I think it also catches something of its era, particularly in how the counter-culture explored freedom of expression, back before punk had a name and a clear identity. The then recent decriminalisation of, and briefly flourishing mainstream interest in hardcore pornography definitely colours the film, for example.
Nevertheless, even nearly fifty years after its release, the film has a pretty potent idea of what would get a rise out of audiences and contains more than enough gross-out material to stop you in your tracks before you get to that scene. As one of my friends said when I mentioned it, 'it's a film that needed to be made, but not necessarily one that needs to be watched'.
Must confess, I did not make it to the end of this one.
John Waters's most infamous midnight movie, the story of two rival groups feuding over the right to call themselves 'the filthiest people alive', is probably best known for its notorious finale, but there is a definite appeal to it beyond sheer shock value. It's a film that wants to do its very best to offend you, but does so with a wink and a smile, most usually from Divine, whose camp charisma does a lot of the heavy lifting. I think it also catches something of its era, particularly in how the counter-culture explored freedom of expression, back before punk had a name and a clear identity. The then recent decriminalisation of, and briefly flourishing mainstream interest in hardcore pornography definitely colours the film, for example.
Nevertheless, even nearly fifty years after its release, the film has a pretty potent idea of what would get a rise out of audiences and contains more than enough gross-out material to stop you in your tracks before you get to that scene. As one of my friends said when I mentioned it, 'it's a film that needed to be made, but not necessarily one that needs to be watched'.
jake scully
Kiznaiver
Saw Darren Ward’s excellent thriller Beyond Fury blu ray last night
I’ve got Sudden Fury , A Day Of Violence and this completes his crime trilogy
He had trouble getting UK distribution so I got the Canadian blu ray
I’ve got Sudden Fury , A Day Of Violence and this completes his crime trilogy
He had trouble getting UK distribution so I got the Canadian blu ray
jake scully
Kiznaiver
Saw Lindsay Anderson’s excellent satire on the establishment last night O Lucky Man! Malcolm McDowell was good and a lot of the stars played a different number of characters in the film
It’s a sometime unusual film of its time but Alan Price’s title song amongst others are connected to the script- at 3 hours long its never dull
It’s a sometime unusual film of its time but Alan Price’s title song amongst others are connected to the script- at 3 hours long its never dull
Suspiria (2018)
I can understand why some folk like this reimagined version of Dario Argento's quintessential Italo-horror classic about an ancient coven of witches hiding behind the facade of a dance academy; it's impeccably acted and shot, it's much more grounded in its narrative and it absolutely revels in meticulous period detail. Unfortunately, it's just not for me. I appreciate them genuinely trying to do something different with the original concept, I stopped trying to mentally compare the two versions pretty quickly, but I found the new film very literal, overly long and oddly clinical. Even when it gets to the finale with the blood and the screaming, it's just all so very... mannered?
I can understand why some folk like this reimagined version of Dario Argento's quintessential Italo-horror classic about an ancient coven of witches hiding behind the facade of a dance academy; it's impeccably acted and shot, it's much more grounded in its narrative and it absolutely revels in meticulous period detail. Unfortunately, it's just not for me. I appreciate them genuinely trying to do something different with the original concept, I stopped trying to mentally compare the two versions pretty quickly, but I found the new film very literal, overly long and oddly clinical. Even when it gets to the finale with the blood and the screaming, it's just all so very... mannered?
RadFemHedonist
Mad Scientist
Haven't seen it cuz I'm terrible with gore and such but I do love me a bit of Thom Yorke and Suspirium was one of the most beautiful things I have ever heard (in the "suicidally depressing" category, granted lol).
jake scully
Kiznaiver
jake scully
Kiznaiver
In principle I would never watch the remake/ reboot of Dario Argento’s groundbreaking horror
It’s an hour longer than the original and what I read on horror mag it’s political overtones and what’s with Tilda Swindon in 3? roles
The same director made a crap film with her and Dakota Johnson I saw on Film4 some time ago
Not a horror directo
It’s an hour longer than the original and what I read on horror mag it’s political overtones and what’s with Tilda Swindon in 3? roles
The same director made a crap film with her and Dakota Johnson I saw on Film4 some time ago
Not a horror directo
serpantino
Thousand Master
A Taxi Driver (Korean 2017)
Excellent film dealing with the Gwangju massacre which I didn't really know about prior to the film.
The film follows a reluctant taxi driver who's a single parent and in desperate need of money. He agrees to drive a German reporter from Seoul into Gwangju without really knowing what is going on in the city.
It's a very eye opening film with a lot of human elements, great tragedy & injustice punctuated with moments of humour and compassion that make the characters real. The taxi driver in particular (played by the excellent Kang-Ho Song) starts off as belligerent and disapproving of the students protesting but gradually has his eyes opened & his views changed by what he witnesses.
I'd give it a strong 8/10
Excellent film dealing with the Gwangju massacre which I didn't really know about prior to the film.
The film follows a reluctant taxi driver who's a single parent and in desperate need of money. He agrees to drive a German reporter from Seoul into Gwangju without really knowing what is going on in the city.
It's a very eye opening film with a lot of human elements, great tragedy & injustice punctuated with moments of humour and compassion that make the characters real. The taxi driver in particular (played by the excellent Kang-Ho Song) starts off as belligerent and disapproving of the students protesting but gradually has his eyes opened & his views changed by what he witnesses.
I'd give it a strong 8/10
jake scully
Kiznaiver
There are two blu rays I’m looking to buying- Dr Lamb and Evil
Dead Trap - the former is a Hong Kong horror and the latter a Japanese horror I’ve already got but non anamorphic - can’t wait to buy!
Dead Trap - the former is a Hong Kong horror and the latter a Japanese horror I’ve already got but non anamorphic - can’t wait to buy!