Green Hornet. I liked it. I know it wasn't a huge success, but I hope they make a sequel.
James franco and Edward Furlong were nice surprises. It was more violent than I expected. Nice deaths for the villains.
What was the last movie you've seen?
Re: What was the last movie you've seen?
In the Mouth of Madness - Despite this John Carpenter movie not having done well, it was a great homage to HP Lovecraft, complete with some absolutely splendid nightmare imagery. It's a shame the critics wanted more, as there were some great shots.
The Horrors of Spider Island - Purely nonsensical crap. This German porn film somehow ended up being edited for television and poorly dubbed...and then ended up in the hands of the MST3K crowd. I laughed, but it's still pretty terrible.
Girl in the Gold Boots - Oh God damn it, this movie sucked. Sure, it was mostly coherent, but just so boring. Also it looked like everyone dancing was having some sort of muscle spasm. Even MST3K's take couldn't keep me interested. On a fun note of trivia, Donald "Duck" Dunn appeared in this film about a decade before he appeared in The Blues Brothers.
The Guyver - It was campy, it was corny, and the acting was stiffer than a rigor mortised tetanus fatality. Still, the little kid in me who watched Power Rangers back when I was 7 enjoyed it. I just hope I never have to hear Stryker try to rap ever again.
Dead Alive - It's sad that I've seen so much shock cinema this film just didn't phase me. I loved it though, even if I did keep wondering when it was going to pick up. It's campy, but it knows it. How Peter Jackson ever got The Lord of the Rings I don't know, but he certainly knows how to have fun with movie making.
Thor - I was expecting it to be pretty bad, so I was pleasantly surprised by this one. Is it perfect? No, not at all. But it made for an enjoyable popcorn flick and provided further setup for the much-looked forward to Avengers film. I still think Iron Man was better, but this one was nowhere near the worst of the Marvel lot.
Dust Devil: The Final Cut - Set primarily in the wastelands of Namibia, this South African horror film is apparently quite tough to find, and nearly impossible to find at its full intended length. I managed to see the Subversive Cinema cut, which is the closest one can really get. I thought this movie was amazing, with some incredible cinematography that again reflects the nightmarish qualities I enjoy in horror film. There were some places where I wasn't entirely clear what was going on in the plot, mainly pertaining to Zakes Mokae's character, but Robert Burke's demonic Dust Devil was quite chilling in his behavior.
The Horrors of Spider Island - Purely nonsensical crap. This German porn film somehow ended up being edited for television and poorly dubbed...and then ended up in the hands of the MST3K crowd. I laughed, but it's still pretty terrible.
Girl in the Gold Boots - Oh God damn it, this movie sucked. Sure, it was mostly coherent, but just so boring. Also it looked like everyone dancing was having some sort of muscle spasm. Even MST3K's take couldn't keep me interested. On a fun note of trivia, Donald "Duck" Dunn appeared in this film about a decade before he appeared in The Blues Brothers.
The Guyver - It was campy, it was corny, and the acting was stiffer than a rigor mortised tetanus fatality. Still, the little kid in me who watched Power Rangers back when I was 7 enjoyed it. I just hope I never have to hear Stryker try to rap ever again.
Dead Alive - It's sad that I've seen so much shock cinema this film just didn't phase me. I loved it though, even if I did keep wondering when it was going to pick up. It's campy, but it knows it. How Peter Jackson ever got The Lord of the Rings I don't know, but he certainly knows how to have fun with movie making.
Thor - I was expecting it to be pretty bad, so I was pleasantly surprised by this one. Is it perfect? No, not at all. But it made for an enjoyable popcorn flick and provided further setup for the much-looked forward to Avengers film. I still think Iron Man was better, but this one was nowhere near the worst of the Marvel lot.
Dust Devil: The Final Cut - Set primarily in the wastelands of Namibia, this South African horror film is apparently quite tough to find, and nearly impossible to find at its full intended length. I managed to see the Subversive Cinema cut, which is the closest one can really get. I thought this movie was amazing, with some incredible cinematography that again reflects the nightmarish qualities I enjoy in horror film. There were some places where I wasn't entirely clear what was going on in the plot, mainly pertaining to Zakes Mokae's character, but Robert Burke's demonic Dust Devil was quite chilling in his behavior.
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Bradtemple87
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Re: What was the last movie you've seen?
I watched Tangled last night and I really enjoyed it!
Re: What was the last movie you've seen?
In order:Ack wrote:In the Mouth of Madness - Despite this John Carpenter movie not having done well, it was a great homage to HP Lovecraft, complete with some absolutely splendid nightmare imagery. It's a shame the critics wanted more, as there were some great shots.
The Guyver - It was campy, it was corny, and the acting was stiffer than a rigor mortised tetanus fatality. Still, the little kid in me who watched Power Rangers back when I was 7 enjoyed it. I just hope I never have to hear Stryker try to rap ever again.
Dead Alive - It's sad that I've seen so much shock cinema this film just didn't phase me. I loved it though, even if I did keep wondering when it was going to pick up. It's campy, but it knows it. How Peter Jackson ever got The Lord of the Rings I don't know, but he certainly knows how to have fun with movie making.
* Wanna see it
* Saw it and loved it
* Saw it and really loved it
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Bradtemple87
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- Posts: 4829
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- Location: Bay Area
Re: What was the last movie you've seen?
Dead Alive is one of my cult favorites!
Re: What was the last movie you've seen?
Financial goals aside (THOR could easily gross 200million box office alone) I think Marvel achieved their objective of introducing THOR as a character that kids would love and "get". I mean let's face it, Thor isn't for everybody, but Marvel Studios should be applauded for making the character someone we could relate to. And they also did that with also pleasing long time Thor fans as Asgard was still presented in a Jack Kirby-esque style.Ack wrote: Thor - I was expecting it to be pretty bad, so I was pleasantly surprised by this one. Is it perfect? No, not at all. But it made for an enjoyable popcorn flick and provided further setup for the much-looked forward to Avengers film. I still think Iron Man was better, but this one was nowhere near the worst of the Marvel lot.
Now is it a great movie? That is debatable, but what I don't think is debatable is that Marvel Studios hit a monster homerun with this one as the bottom line will show.
Re: What was the last movie you've seen?
Priest 6/10
Barely above average. Lots of wasted potential, and frankly it just got goofy after a while.
Also, why did they even bother calling this Priest?
Barely above average. Lots of wasted potential, and frankly it just got goofy after a while.
Also, why did they even bother calling this Priest?
Re: What was the last movie you've seen?
Summer Children (1965) by James Bruner
Long thought lost, this 1965 film from first time director James Bruner was never released due to budget problems but eventually saw the light of day this year after the director recovered the original print and restored it for DVD release. Summer Children tells the story of West, a serious young man and old fashioned romantic at heart who struggles to fit in with the swinging culture of the 60's adopted by his peers. He, along with a group of friends, sets out to sail his father's yacht from the Californian coast to Catalina island for a few nights of partying, but his interest is centred firmly on the aloof and mysterious Diana, who at first appears indifferent to his advances. Into the mix comes West's friend Franky, a daredevil motorbike racer who couldn't differ more in personality from West and exemplifies the new culture West has so much difficulty coping with. Franky already has a girl, but his sights are also set on Diana, who regards him with barely concealed disgust. Yet when Diane gives in to both West and Franky's charms, trouble brews between Franky and the jealous West who can't accept Diana's free-spirited nature towards sex and romance. Ultimately it's a story of old cultural sensibilities failing in the face of the modern era. West represents the increasingly naive ideals of the past, his confusion and social awkwardness stemming from the belief that any women should be more than happy to settle with a handsome, successful young man and his jealousy stemming from his inability to comprehend the new ideas of freedom of love and relationships that the 1960's came to represent.
Like the director and writer, for many of the actors this was their first film and after it's failure none of the cast and main crew went on to star in, write or direct film again. It's easy to see why. The plot is a fairly simple affair, peppered with unnecessarily extended scenes of swinging 60's beach parties full of pop-culture music and lingo, while the dialogue is at times laughably bad and the delivery of many of the actors leaves much to be desired. The character of West comes across as overly forced, while Diana's character switches between the happy-go-lucky embodiment of swinging culture and a distant, brooding character of long pauses and meaningful glances that could have been sliced straight from an Michelagelo Antonioni film. Speaking of Antonioni, it's the cinematography where Summer Children really shines. Heavily influenced by the new wave of European cinema emerging in the 60's, director James Bruner hired cinematographer Vilmos Zsigmond (whose most notable work includes The Deer Hunter, Deliverance and Close Encounters) to lend his film a distinctly European style. The high contrast black and white film, heavily shadowed with a noir tint, looks spectacular as framed by the masterful Zsigmond. Light and shadow are used to brilliant effect and many techniques, such as shooting a night-time party on the beach in daylight or the way Zsigmond captures the play of light on water and the motion of the yacht, help create a visually stunning piece of cinema that makes up for what it distinctly lacks in narrative and dialogue with it's arresting and beautifully photographed imagery.
In the Year of the Pig (1968) by Emile de Antonio
This independent political documentary by Emile de Antonio caused a lot of controversy at the time of it's release. Cinemas showing the film received bomb threats and the critical response to Antonio's work that painted a damning picture of Western foreign influence in Vietnam was largely negative and sometimes downright hostile. Through the use of archive footage and interviews with prominent political and military figures Antonio presents a historical timeline of the colonial and imperial domination of Vietnam by the West and in utilising poignant montages accompanied by a striking score he seeks to highlight the hypocrisy, greed and racism of the foreign aggressors pulling Vietnam this way and that to their own ends with little regard for the suffering of the innocents caught between.
One such scene sees wounded American soldiers, mutilated and battle scarred, evacuating the front while Asian instruments ironically play the tune of 'Old Glory'. Another sees Antonio smother shots of US cruisers laying waste to swathes of countryside with the thrumming drone of helicopters, a scene which Martin Sheen is quoted as saying directly influenced Coppola and his famous use Wagner in Apocalypse Now. Ultimately this is an incredibly important documentary filmed in the midst of it's subject matter, and although it's string of interviews and archive footage comes across at times as rather dry and at others too forceful in it's delivery of Antonio's message, this is still an undeniably poignant and heart wrenching piece of work. In the Year of the Pig simply does what many Vietnam war films sought to do and a whole decade earlier.
Long thought lost, this 1965 film from first time director James Bruner was never released due to budget problems but eventually saw the light of day this year after the director recovered the original print and restored it for DVD release. Summer Children tells the story of West, a serious young man and old fashioned romantic at heart who struggles to fit in with the swinging culture of the 60's adopted by his peers. He, along with a group of friends, sets out to sail his father's yacht from the Californian coast to Catalina island for a few nights of partying, but his interest is centred firmly on the aloof and mysterious Diana, who at first appears indifferent to his advances. Into the mix comes West's friend Franky, a daredevil motorbike racer who couldn't differ more in personality from West and exemplifies the new culture West has so much difficulty coping with. Franky already has a girl, but his sights are also set on Diana, who regards him with barely concealed disgust. Yet when Diane gives in to both West and Franky's charms, trouble brews between Franky and the jealous West who can't accept Diana's free-spirited nature towards sex and romance. Ultimately it's a story of old cultural sensibilities failing in the face of the modern era. West represents the increasingly naive ideals of the past, his confusion and social awkwardness stemming from the belief that any women should be more than happy to settle with a handsome, successful young man and his jealousy stemming from his inability to comprehend the new ideas of freedom of love and relationships that the 1960's came to represent.
Like the director and writer, for many of the actors this was their first film and after it's failure none of the cast and main crew went on to star in, write or direct film again. It's easy to see why. The plot is a fairly simple affair, peppered with unnecessarily extended scenes of swinging 60's beach parties full of pop-culture music and lingo, while the dialogue is at times laughably bad and the delivery of many of the actors leaves much to be desired. The character of West comes across as overly forced, while Diana's character switches between the happy-go-lucky embodiment of swinging culture and a distant, brooding character of long pauses and meaningful glances that could have been sliced straight from an Michelagelo Antonioni film. Speaking of Antonioni, it's the cinematography where Summer Children really shines. Heavily influenced by the new wave of European cinema emerging in the 60's, director James Bruner hired cinematographer Vilmos Zsigmond (whose most notable work includes The Deer Hunter, Deliverance and Close Encounters) to lend his film a distinctly European style. The high contrast black and white film, heavily shadowed with a noir tint, looks spectacular as framed by the masterful Zsigmond. Light and shadow are used to brilliant effect and many techniques, such as shooting a night-time party on the beach in daylight or the way Zsigmond captures the play of light on water and the motion of the yacht, help create a visually stunning piece of cinema that makes up for what it distinctly lacks in narrative and dialogue with it's arresting and beautifully photographed imagery.
In the Year of the Pig (1968) by Emile de Antonio
This independent political documentary by Emile de Antonio caused a lot of controversy at the time of it's release. Cinemas showing the film received bomb threats and the critical response to Antonio's work that painted a damning picture of Western foreign influence in Vietnam was largely negative and sometimes downright hostile. Through the use of archive footage and interviews with prominent political and military figures Antonio presents a historical timeline of the colonial and imperial domination of Vietnam by the West and in utilising poignant montages accompanied by a striking score he seeks to highlight the hypocrisy, greed and racism of the foreign aggressors pulling Vietnam this way and that to their own ends with little regard for the suffering of the innocents caught between.
One such scene sees wounded American soldiers, mutilated and battle scarred, evacuating the front while Asian instruments ironically play the tune of 'Old Glory'. Another sees Antonio smother shots of US cruisers laying waste to swathes of countryside with the thrumming drone of helicopters, a scene which Martin Sheen is quoted as saying directly influenced Coppola and his famous use Wagner in Apocalypse Now. Ultimately this is an incredibly important documentary filmed in the midst of it's subject matter, and although it's string of interviews and archive footage comes across at times as rather dry and at others too forceful in it's delivery of Antonio's message, this is still an undeniably poignant and heart wrenching piece of work. In the Year of the Pig simply does what many Vietnam war films sought to do and a whole decade earlier.
PSN; Bootaaay ---------------------------------------------------------------- XBL; B007444Y
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hashiriya1
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Re: What was the last movie you've seen?
I just saw Fast Five. I could not enjoy it at all. Not because it was bad (An OK, average action movie), but the fact that it takes place BEFORE Tokyo Drift (The 3rd installment of the movie). Tokyo Drift came out in 2006, so Fast Five shouldn't contain any cars made after 2006, yet it was full of newer models. I didn't see a Flux Capacitor in any of the newer cars.
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Rurouni_Fencer
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Re: What was the last movie you've seen?
If it helps, a solid timeline was never established in Tokyo Drift. It could quite possibly take place in a future year (2012-2014, etc..)hashiriya1 wrote:I just saw Fast Five. I could not enjoy it at all. Not because it was bad (An OK, average action movie), but the fact that it takes place BEFORE Tokyo Drift (The 3rd installment of the movie). Tokyo Drift came out in 2006, so Fast Five shouldn't contain any cars made after 2006, yet it was full of newer models. I didn't see a Flux Capacitor in any of the newer cars.
And before the question is posed, "then, why weren't there any newer, more modern car models being raced in Tokyo Drift?", I'll just say this - if you're concerned with the art of drift racing, you're not going to opt for any of the cars found in our current market. An old-school RB26DETT S15 or a Toyota AE86 will out-perform any car in the 2011 marketplace, save maybe for the GTR.
