The Movie Review and Discussion Thread

[Lepidopterous]

Originally Posted by SquidPuppet

It is extremely political.

I have read critical accusations that the show has an agenda and a message, which it delivers via a facade of the actual opposite messenger. Camouflage if you will, camouflaged as ones opponent. Quite sneaky. I'd agree with those accusations. If one were the intended target of such messages, it could be received as monumentally condescending and insulting. I fully understand the anger (rage in some cases) that some viewers feel about the shows stance and writing. I am, however, very comfortable with it.

The controversy was part of my reason for checking it out. I reckoned I'd hate it or love it.

Reminds me of The Colbert Report

Crazy though. It's surprising that HBO would air an overtly politically-sided show.

[SquidPuppet]

Originally Posted by jvince

It's Such a Beautiful Day (2012)
dir. Don Hertzfeldt

The Good: Unique. Ambitious. Funny. Sad. Dark. Wrong. Right. So right. Random. Smart. Profound. Mesmerizing. Surreal. Strange. Familiar. Relatable. Resonant. Poignant. Uplifting. Brilliant. Beautiful. Powerful. Unforgettable. Masterpiece.

The Bad: None.

The Bottom Line: I'm completely floored. Just speechless. Stunned. Who would've thought an odd, little film about a stickman would turn out to be one of the most humanistic works in cinematic history? This is surreal existentialism at its finest. Thank you, Mr. Hertzfeldt. It's Such a Beautiful Day is a new, personal, all-time favorite, and I'm pretty confident it will be one of yours too.

Where/how did you see this? No DVD release yet.

[SquidPuppet]

Originally Posted by DjMethod

Reminds me of The Colbert Report

Crazy though. It's surprising that HBO would air an overtly politically-sided show.

It is 100% serious though, not satirical. Hence the controversy.

I think they believe the camouflage works. You'd have to be pretty slow to miss it though IMO. It's as subtle as a sledge hammer.

[Foggy]

Originally Posted by SquidPuppet

Where/how did you see this? No DVD release yet.

I wanna know too, the first one of the three shorts was amazing.

[SquidPuppet]

Originally Posted by Foggy

I wanna know too, the first one of the three shorts was amazing.

There is a film matching JVinces description on YouTube. But it's only 17 minutes, so I dont know if that is the full version.

[Lepidopterous]

Originally Posted by SquidPuppet

It is 100% serious though, not satirical. Hence the controversy.

I think they believe the camouflage works. You'd have to be pretty slow to miss it though IMO. It's as subtle as a sledge hammer.

Gotcha. It's hard to say since I don't fall on either side. Beasts of the Southern Wild was wildly controversial but is at least up for interpretation. I'll probably still check it out since a friend of mine recommended it. Thanks for the heads up.

[jvince]

The Conversation (1974)
dir. Francis Ford Coppola

The Good: Fantastic performance from Gene Hackman. Nice twist. Wonderful piano score by David Shire (Zodiac). Memorable final sequence.

The Bad: Glaring plot holes. Uncharacteristic actions. Implausible. Drags in the middle. Jazz, ugh.

The Bottom Line: Despite being the weakest among Francis Ford Coppola's esteemed works, The Conversation is still an effective character study of a man saddled with guilt and paranoia that's well worth checking out.

[Abdrewes]

The Conversation is my favorite Coppola film. Perfect, in my opinion.

Have you seen Blow Up and Blow Out by any chance?

[jvince]

Originally Posted by SquidPuppet

Where/how did you see this? No DVD release yet.

Originally Posted by Foggy

I wanna know too, the first one of the three shorts was amazing.

It's available on Vimeo and Netflix. I really hope they release it on blu-ray, but that seems unlikely.

[jvince]

Originally Posted by Abdrewes

The Conversation is my favorite Coppola film. Perfect, in my opinion.

Have you seen Blow Up and Blow Out by any chance?

I liked Blow Out more. Haven't seen Blow Up yet.

[Abdrewes]

Originally Posted by jvince

I liked Blow Out more. Haven't seen Blow Up yet.

Blow Up is a must. I think Blow Out deftly pays homage to both films. I just flat out LOVE how all three convey the process of investigation. Perfection

[CoolRanch]

The Wolverine

My Two Cents
Even though I admittedly enjoyed X-Men Origins: Wolverine, like many others I didn't believe it was the movie that Wolverine deserved. After watching the Wolverine I can honestly say that he finally received the film he deserved. The film takes its time and focuses more on the plot and character development than it does action scenes and mayhem. Though the action present in this film is freaking awesome! (my personal favorite action sequence was the bullet-train fight) Containing both style and substance, the Wolverine will find a home on my shelf in no time. 8/10

[Abdrewes]

Fruitvale Station:

Winner of the Audience Award at Sundance and the Prix de L'Avenir (Best Director in Un Certain Regard) at Cannes, “Fruitvale Station” has finally expanded to wide release. Michael B. Jordan's career defining performance and understated direction by USC graduate Ryan Coogler renders this one of the most emotionally charged films of 2013.

The film opens on the "based on a true story" title card and proceeds with the January 1st, 2009 civilian cell phone recordings at “Fruitvale Station”. Of pixilated low quality, it plunges us into that horrific night where the Bay Area Rapid Transit Police incompetently dismantled a subway fight and with the use of excessive force, cost 22 year old Oscar Grant his life. Such a bold opening would have proved foolhardy under lesser hands, but Coogler effectively establishes a contemplative mood. The subsequent dramatization of Oscar's life is drenched with an aura of dread as each quotidian moment takes on a mythic grandeur.

The film implicates us in the moment with handheld realism reminiscent of the films of Ramin Bahrani (“Chop Shop”) and the Dardenne brothers (“Rosetta”, “The Kid with a Bike”). The natural lighting and unadorned sound design do a remarkable job of capturing the Oakland area and fastening the proceedings in a gritty reality. The world created for us never feels anything less than authentic, so it becomes easy to invest in the first rate performances that attach a human face to the victims of this tragic event. Coogler and company handle the material with the utmost care and responsibility.

Michael B. Jordan, last seen channeling his newfound superpowers in 2012's “Chronicle”, embodies Oscar Grant with magnetic charisma and conviction. He effortlessly brings a remarkable level of humanity, a man that was both flawed and noble. Note an early scene at a grocery store where his glances, body language and the manner in which he approaches others build his character without exposition: while ordering crabs for his Mother's birthday party from his brother behind the counter, he communicates a novice fish fryer with his expert grandmother and while she is on the phone, he fleetingly chases down the manager in pursuit of his old position. Jordan juggles all three social interactions with affable poise, he is great company and resourceful to boot. What would have otherwise been an underwritten role; he imbues this streetwise ex-convict with gravitas.

Anchoring the cast of relative newcomers is Octavia Spencer. Her placement at the center of the most emotionally charged scenes brings out the aplomb of her fresh faced counterparts. A late scene where the spotlight might have been too bright for Melonie Diaz (playing Oscar's wife, Sophina) to handle may not have reached the same level of heartache if Spencer's nurturing presence was absent. Alongside Jordan's great lead performance, her supporting turn should receive awards recognition this winter.

“Fruitvale Station” effectively takes cues from Spike Lee's “25th Hour”, one of the defining films of the 2000's, in that it is a near plot-less film charged by current events and civil injustice that miraculously never falls victim to angry polemics and speechifying. Also, like that film, it narrows its gaze to the final free hours of a doomed man and with its fly on the wall approach—it is always pitched at just the right level to achieve effect. Sure, events late in the film are very difficult to watch, but they serve as a necessary reminder of the fragility of existence and the cruel forces that cut it short. Juxtaposing the low key and often sweet everyday moments of the first hour with the stomach turning anguish of the final reel poignantly detail the cost of poorly orchestrated civil order.

[CoolRanch]

Fear and Loathing in Las vegas

My Two Cents
Never before have I seen a movie embodying such chaotic mayhem, such bizarre visuals, such quotable lines. It also has the best performance from Johnny Depp that I've yet seen, portraying Hunter S. Thompson with accuracy and charisma. A wild ride, which is all the more enjoyable to watch with friends. 8/10

But, and I don't know if I'm the only one that feels this way, due to the movie's unpleasantness and brutality, I would not add it to my collection, nor would I be interested in a repeat viewing any time soon.

[jvince]

The Spectacular Now (2013)
dir. James Ponsoldt

The Good: Miles Teller and Shailene Woodley are absolutely perfect in this. I can't imagine anyone else as Sutter and Aimee. They both breathe life into their characters, infusing their performances with loads of charm and personality. Their chemistry is so spot-on, I could just watch them talk all day. Two of the finest performances of the year. Wonderful supporting turns from Kyle Chandler, Jennifer Jason Leigh, Brie Larson, and Mary Elizabeth Winstead. Fantastic screenplay by Scott Neustadter and Michael Weber, the duo responsible for the 2009 indie hit (500) Days of Summer. Near-perfect balance of comedy and drama. Everything is believable and naturalistic, from the lack of makeup right down to the emotionally raw sex scene. I especially like how none of the kids are totally stereotypical. Funny one-liners: "Arrivederci, f*ck you." "F*ck off, Crystal!" "What? Are you kidding me? That's awesome." The gift. The "oh, shit!" moment. Some technically impressive camera work by Jess Hall (Hot Fuzz). There's this one scene in particular -- the tracking shot during the prom -- where Teller and Woodley are walking and talking against glass while the camera remains invisible. Awesome soundtrack.

The Bad: Same main problem as Ponsoldt's previous film, Smashed -- the conclusion feels rushed. Seeing Saul Goodman and being reminded that Breaking Bad is coming to an end.

The Bottom Line: While the film tackles on the ills of alcoholism like Smashed, this one feels more assured and personal, and, most importantly, sympathetic. Despite having a familiar story, the tremendous work by everyone involved, most notably its two leads, elevates the material into something great. The Spectacular Now stands atop this year's quality crop of teen coming-of-age movies and is one of the best films of the year. Recommended.

[Abdrewes]

I don't mind "rushed"/lopped off conclusions. So I may really like 'Spectacular Now' ...

Will it get a wider release? That is the question.

[legendarymatt92]

"...they granted us the greatest gift -- a chance at our rebirth. We will rise renewed, stronger and united."

The Good Points: Butler, Freeman and Eckhart all put in some tremendous performances. Good humour and some top-notch action scenes, both thrilling and tense in equal measure. Fuqua's intense direction, which keeps the film flowing at a fair pace and eradicates any unnecessary elements. Often riveting and constantly entertaining.

The Bad Points: That ending...I know this film is pro-American but c'mon. Some cheap-looking CG effects, especially with regards to the multiple explosions that unavoidably occur. Languorous sub-plot, with some pretty stupid inconsistencies.


Olympus Has Fallen is a knee-jerk reaction where originality or subtlety was never going to be a strong point, but it transcends those through Butler's stellar performance and some tense, solid direction to become fantastically entertaining and shamelessly bombastic, even though it constantly reminds us of its vaguely annoying pro-US stance.

6/10

[Al_The_Strange]

Originally Posted by CoolRanch

Fear and Loathing in Las vegas

My Two Cents
Never before have I seen a movie embodying such chaotic mayhem, such bizarre visuals, such quotable lines. It also has the best performance from Johnny Depp that I've yet seen, portraying Hunter S. Thompson with accuracy and charisma. A wild ride, which is all the more enjoyable to watch with friends. 8/10

But, and I don't know if I'm the only one that feels this way, due to the movie's unpleasantness and brutality, I would not add it to my collection, nor would I be interested in a repeat viewing any time soon.

That is one weird trippy movie. I am a proud owner of it through, on both the Criterion DVD and Universal Blu-Ray (although I never bothered to get the full-blown Criterion Blu-Ray; I figure the Universal one is great as it is ).

As brutal and gnarly as it is, it's still not the worst I've seen. I think Naked Lunch is meaner, Requiem for a Dream is more brutal, and many other films are grosser yet. I never let brutality and unpleasantness get in the way of my buying decisions.

[Lepidopterous]

Originally Posted by jvince

The Spectacular Now (2013)
dir. James Ponsoldt

[Show spoiler]

The Good: Miles Teller and Shailene Woodley are absolutely perfect in this. I can't imagine anyone else as Sutter and Aimee. They both breathe life into their characters, infusing their performances with loads of charm and personality. Their chemistry is so spot-on, I could just watch them talk all day. Two of the finest performances of the year. Wonderful supporting turns from Kyle Chandler, Jennifer Jason Leigh, Brie Larson, and Mary Elizabeth Winstead. Fantastic screenplay by Scott Neustadter and Michael Weber, the duo responsible for the 2009 indie hit (500) Days of Summer. Near-perfect balance of comedy and drama. Everything is believable and naturalistic, from the lack of makeup right down to the emotionally raw sex scene. I especially like how none of the kids are totally stereotypical. Funny one-liners: "Arrivederci, f*ck you." "F*ck off, Crystal!" "What? Are you kidding me? That's awesome." The gift. The "oh, shit!" moment. Some technically impressive camera work by Jess Hall (Hot Fuzz). There's this one scene in particular -- the tracking shot during the prom -- where Teller and Woodley are walking and talking against glass while the camera remains invisible. Awesome soundtrack.

The Bad: Same main problem as Ponsoldt's previous film, Smashed -- the conclusion feels rushed. Seeing Saul Goodman and being reminded that Breaking Bad is coming to an end.

The Bottom Line: While the film tackles on the ills of alcoholism like Smashed, this one feels more assured and personal, and, most importantly, sympathetic. Despite having a familiar story, the tremendous work by everyone involved, most notably its two leads, elevates the material into something great. The Spectacular Now stands atop this year's quality crop of teen coming-of-age movies and is one of the best films of the year. Recommended.

Didn't you review this one already? I swear these indie films are starting to blend together.

[Abdrewes]

Damn all you regulars...I caved in and bought Jack Reacher. My expectations are still very low.