Last Movie You Saw, Name & Review Movie • Page 210

Pineapple Express did not age well. It seemed so funny when it came out but it is very tired and boring. I still think of David Gordon Green as a great director who has made a couple of bad mainstream films, but at this point he has made more of the latter than the former.

Bram Stoker's Dracula was fine. People love to talk about the Reeves accent, and while it is bad, he is not in enough of the film to bring it down.

Do Not Expect Too Much From the End of the World. Sometimes it feels like Jude is implementing an endurance test with his flat dialogue scenes that seem to go on forever, but if you try to unpack what he is doing is revealing how post-communist Romania is essentially rotten from the inside. The Romanian New Wave is maybe the most essential movement in film right now.

 

Deadpool - 8/10
Deadpool 2 - 8/10
Logan - 9/10

 

Hit shuffle on my watchlist and watched the first 5 films that came up

Aguirre, the Wrath of God - 8/10 Greed is self-destructive, a lust for power can drive men insane, and social hierarchies are useless against the immense power of nature. In the end, everybody becomes undone by their own hubris. The low-budget approach actually works in Herzog's favour here, with the lack of cinematic artifice making the film feel as real and immersive as a documentary.

The Sting - 4/10 Part of what audiences love about cinema has always been in its ability to con them, to offer an escape from reality or to transport viewers from 1973 back to the Great Depression. However, despite the period setting, there was very little to love or even like about this film. Emotional depth, character development, and a cohesive narrative are all sacrificed to make a something that feels more like a formulaic product designed to cater to the broadest audience possible. Perhaps the biggest con of them all is the fact that this is a Best Picture winner.

Audition - 6/10 Suffering shapes reality. When pain is habitually inflicted life becomes a masochistic journey of resilience. Asami comes away from this as both a figure of horror and empathy. Her portrayal as a victim of severe abuse transforms into a symbol of retribution. Her torment of Aoyama is shown not only as an act of vengeance but as a reflection of her own traumatic past.

Le Cercle Rouge - 5/10 A cool and slightly homoerotic take on the heist genre. Here, crime is presented as a universal phenomenon rooted in the idea that all men are inherently guilty. The heist itself is flawlessly executed and tension is built continually despite its smooth operation. However, the film devotes excessive attention to the motivations of the police and other peripheral characters, overshadowing the heist and turning it into a inevitable conclusion rather than a pivotal moment.

Reprise - 2/10 A detached and agonizingly shallow movie. A coming of age film with static characters. A silly melodrama masquerading as something more profound. Painful.

 

The Sting is good

 

Strangers on a Train is Hitchcock's 3rd best behind the two Jimmy Stewart masterpieces. So many shots I can recall instantly despite having seen it...18 years ago?

 

I wasn't sure if I've ever seen Bambi so that came next. I was surprised that the mom doesn't diesm until mire than half the movie is over. I didn't remember a dad deer at all.

 

I would have bet money that the mom died right at the beginning.

 

It's only 70 minutes so she still does pretty early.

 

Bambi is oddly beautiful. Maybe their best use of the multiplane technology they developed.

 

One of the peculiarities of the Letterboxd most popular films is the abundance of anime, and one of the most viewed ones is Perfect Blue. It is really more of an adult thriller than any sort of cartoon like Dragonball Z or the one with the weird run the freshmen do in our high school. It has shades of films like Persona or Black Swan where the line between individuals and being in character start to blur within and throughout a difficult time.

We also watched Child's Play next. I only have ever seen the second and third films, and even in that brief time there is a radically different tone. The sequels are much more explicitly a comedy, while in the original film they treat Chucky like Jaws for most of the film and the aspiration is more for straight horror. It doesn't really work, though, because it is a two foot doll, and when he hits the babysitter with a little hammer and she goes flying through a window you aren't going to do much more than laugh at the absurdity. If you are going to make a movie about a toy that is possessed by a serial killer who transferred his soul using a voodoo incantation while bleeding out, you should embrace the silliness.

 

idk if i'm misinterpreting but you sound surprised that an anime can be an adult thriller? not all animation is for kids, i'm pretty sure you already know that. but anyway, if you liked Perfect Blue you should watch more Satoshi Kon

 

I believe Aronofsky has acknowledged he ripped Perfect Blue for Black Swan (both great movies).

I love how unpretentious the original Child's Play is. I think it knows exactly what it is and delivers 80 minutes of pretty non-stop thrills. Good child acting and the battery reveal is an all-timer. Love the second one as well, but it feels a bit more like a straightforward slasher with an colorful and unforgettable third act.

 

I am referring to anime specifically, not all animation. From my experience, anime has been like beer. People keep telling me that their favorite will change my mind, but it never does. Perfect Blue, however, is the best anime I have seen so far.

 

I'm not sure what could possibly change your mind, that's kind of a weird way to put it. I do think you should check out Millennium Actress and Paprika, if only because I've always loved Satoshi Kon's work

 

Perfect Blue was really good so it isn't really a matter of changing my mind. Next up I have Castle in the Sky, Porco Rosso, Ghost in the Shell, Nausicaa, and Whisper of the Heart. I have seen most of the Miyazaki films that everyone seems to love but I never understood the raves. They are clearly better than American childrens' films and shows but I wouldn't put them up against the best of their respective years.

 

I’m glad people love and enjoy anime but it is not for me. I’ve never been able to get into it.

 

Mostly same. Not sure if Ghibli stuff counts but I dig some of those. Also been meaning to watch Akira

 

Akira is good, the Ghibli stuff can be fun, but yeah, it's never really what I'm in the mood for.

 

I'm a big anime hater. Satoshi Kon is an exception, so is Akira.

 

I also really enjoyed stuff by Mamoru Hosoda and Makoto Shinkai, although I haven't really been keeping up.

I think there's enough variety out there that you're bound to find something you like, it's just a matter of looking

 

breaking bad is based on death note

 

Im going to speak broadly for all the anime haters. What I dont like about anime is all the things that make it anime, the tropes, conventitions and style are unappealing and grate on me more now than when I was younger.
There are expections that transcend the genre but searching them out means Im going to be watching anime hoping its not anime, its digging myself a hole to climb out of and I dont need to be doing that.

 

there's definitely some weird obscure artsy shit if that's what you're more into, but okay, i get where you're coming from, i have trouble getting into hip hop except for a few artists

 

Haru (Yoshimitsu Morita, 1996)

I love films about the early internet, and our relationship with it. The internet then was something mechanical and tangible, that existed in a physical place, a computer in your room. You were specifically connected or plugged in to the internet for periods of time, and it couldn't / shouldn't follow you outside of that, which allows lots of opportunities for directors to explore what happens when the online and offline spaces start to converge.

What is also consistent about early internet films is loneliness, the internet is an exclusively lonely place, where people who are not quite ready for offline life can find a community here, or create a new identity for themselves.

There's often lots of horror and fear from films like this, the internet as a cautionary tale, but here this is much more hopeful and optimistic. Seeing the internet and strangers as not something to fear, but instead as an opportunity and place of hope. There's a beautiful last shot, two strangers brought together by message boards, recognising each other by carrying another old internet relic, a floppy disk.

 

When the Internet first started getting popular we didn't have a computer yet and the only reason I wanted one was to look up cheat codes for Goldeneye.