Rate the Last Film You Watched
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Spark_Heal
Kiznaiver
Ferrari (2023) - Penélope Cruz is astonishingly good in this. There are scenes of her just sorting paperwork and you feel like you are watching the angriest person in all of Italy. It's oddly captivating. A lot of director Michael Mann's style is fully on display here. In a film that feels aimless but enjoyable for the most part. It does a good job of making Enzo Ferrari into a funny guy despite all the marital strife, bad press and financial woes building to a boil. Eventually you start to believe Adam Driver is actually much older than he actually is.
If you are interested in a sports drama or biopic then you have to see this in theatres. There is a scene in this that just stunned the entire audience into total silence after a loud gasp. I've been playing in my head every day since then. It is worth seeing for that alone.
7/10
If you are interested in a sports drama or biopic then you have to see this in theatres. There is a scene in this that just stunned the entire audience into total silence after a loud gasp. I've been playing in my head every day since then. It is worth seeing for that alone.
7/10
Vincentdante
Time-Traveller
Justice League Crisis on Infinite Earths part 1 (of 3)
God damn what an amazing film. A rare 10/10 from me. Lived up to the hype.
Flash being the world's biggest gigachad caught in glorious 4k. And amazingly they validated everything, even House of Mystery. The tomorrowverse was secretly cooking when no one believed. The only flaw was ironically from how the last movie (Justice League warworld) abruptly ended leaving this one to pick up a few pieces.
Part 2 soon pls.
God damn what an amazing film. A rare 10/10 from me. Lived up to the hype.
Flash being the world's biggest gigachad caught in glorious 4k. And amazingly they validated everything, even House of Mystery. The tomorrowverse was secretly cooking when no one believed. The only flaw was ironically from how the last movie (Justice League warworld) abruptly ended leaving this one to pick up a few pieces.
Part 2 soon pls.
Otomo
Vampire Ninja
Nice heads up.
I'm a fan of DC's animated stuff.
Always like hearing that someone enjoyed a film enough to give it 10/10.
Vincentdante
Time-Traveller
Just came back from seeing Dune part 2. Worthy followup to the original imo. There were a few jump cuts which felt a bit awkward near the middle (the fast travel phenomenon).
Just like the first movie I'm sure you will hate it if you read the book but I don't have that pleasure so I was forced to enjoy it
Just like the first movie I'm sure you will hate it if you read the book but I don't have that pleasure so I was forced to enjoy it
Geriatric hedgehog
Pokémon Master
Just came back from seeing Dune part 2. Worthy followup to the original imo. There were a few jump cuts which felt a bit awkward near the middle (the fast travel phenomenon).
Just like the first movie I'm sure you will hate it if you read the book but I don't have that pleasure so I was forced to enjoy it
I definitely enjoyed both (apart from some questionable casting choices
), but yeah I liked the first one more too. The book remains my favourite from my school days so the movies did have a lot to live up to but I was reassured with them being in Villeneuve's hands. Knowing his skills and as a fan of the books, I was however really sad that he didn't put in some fantastic phantasmagorical scenes of Paul's visions of the numerous possible timelines and their potential outcomes. These were probably the one thing from the book that I was looking forward to the most
. Nevermind, still a great adaptation of the book.I've read all of Herbert Snr's Dune books and loved them but now I may even be tempted to give his son's books on the series a shot heh. The age of Marvel has certainly helped with adaptations of sci fi classics previously thought unfilmable, including the excellent Foundation series.
AgeOfBoredom
Dandy Guy, in Space
This is how I felt (but was too scared to tell anyone because it sounds like a hot take
). I stand with you.
Vincentdante
Time-Traveller
Just saw Godzilla x Kong.
That was some Showa series levels of nonsense but it was fun. I rate it Showa / 10
That was some Showa series levels of nonsense but it was fun. I rate it Showa / 10
No pink Godzilla was a totally meaningless power up, as matter of fact it was a Kong movie first and foremost guest starring Godzilla.
Dai
Pokémon Master
I've been a fan of Tetsuo: The Iron Man since the 90s, so it's weird that I've taken so long to start catching up on some of Tsukamoto's other movies.
Hiruko the Goblin
A misleading title since yokai has been translated as goblin. The actual monster in this movie is basically the head spider from The Thing. As one of the few studio movies that Tsukamoto has made, it looks oddly clean and conventional compared to his independent movies. There's some uncharacteristically painterly cinematography on display in places, but mixed in with some handheld camera work that looks more Sam-Raimi-esque than Tsukamoto's usual frenetic style.
The horror-comedy plot is also more conventional than I expected, though it's fairly entertaining. Worth watching once, but not one I'd want to revisit.
Tetsuo: The Bullet Man
"You don't want me inside you. You don't know what I'll do."
The third Tetsuo was originally going to be produced by Quentin Tarantino and intended for a US audience. That side of things fell through, but for some reason this still ended up being a very Americanised take on Tetsuo's ironpunk body-horror nightmares. More specifically, it's a warped, overblown, clunky, borderline-parody of what a movie aimed at an American audience should be. Where the original was surreal and abstract, The Bullet Man is painfully literal, going to great lengths to explain what is happening and why in lengthy, dry scenes of exposition delivered by English-speaking actors who have that random-guy-dragged-in-off-the-street cadence to them.
It also suffers from being made in the early digital camera era, when everything coming out of Japan looked like a home movie. The action scenes use the most exaggerated shaky cam I've ever seen (the Bourne movies look practically locked on a tripod by comparison), to the point where it's almost impossible to see what's happening. A few memorable moments aside, this is a major step down from the previous Tetsuo movies.
Kotoko
The most thematically challenging movie I've seen from Tsukamoto, this depicts a single mother struggling to raise her child while being tormented by crippling psychosis. A Beautiful Mind delved into the protagonist's hallucinations and delusions, but sometimes stepped back to a more objective view so the viewer could distinguish reality from hallucination. Kotoko offers no such comfort, keeping us locked inside her tormented viewpoint from start to finish, never certain what is real. The cheap digital camera look is on display here too, but this time it works with the story to lend it a harrowing docudrama air.
Some film-makers spend their whole career trying to tell one story, and it's interesting to see the structural parallels between Kotoko, Tetsuo, and A Snake of June. All of these stories see someone trying to lead a normal life, only to be stalked by a stranger who pushes them to awaken to an opposite, often self-destructive way of being, inevitably with disastrous consequences. Tetsuo depicts this as metal corrupting first the body, the mind, and finally the world. A Snake of June (and Tetsuo again) depicts it as a sexual awakening clashing against a disease that threatens to overwhelm the protagonist's body.
Kotoko flips the script in some ways, having the protagonist begin deep within disastrous circumstances, while the stalker seeks to help her back to reality, albeit through equally disruptive means. It's interesting that Tsukamoto always casts himself as the stalker in these stories.
Hiruko the Goblin
A misleading title since yokai has been translated as goblin. The actual monster in this movie is basically the head spider from The Thing. As one of the few studio movies that Tsukamoto has made, it looks oddly clean and conventional compared to his independent movies. There's some uncharacteristically painterly cinematography on display in places, but mixed in with some handheld camera work that looks more Sam-Raimi-esque than Tsukamoto's usual frenetic style.
The horror-comedy plot is also more conventional than I expected, though it's fairly entertaining. Worth watching once, but not one I'd want to revisit.
Tetsuo: The Bullet Man
"You don't want me inside you. You don't know what I'll do."
The third Tetsuo was originally going to be produced by Quentin Tarantino and intended for a US audience. That side of things fell through, but for some reason this still ended up being a very Americanised take on Tetsuo's ironpunk body-horror nightmares. More specifically, it's a warped, overblown, clunky, borderline-parody of what a movie aimed at an American audience should be. Where the original was surreal and abstract, The Bullet Man is painfully literal, going to great lengths to explain what is happening and why in lengthy, dry scenes of exposition delivered by English-speaking actors who have that random-guy-dragged-in-off-the-street cadence to them.
It also suffers from being made in the early digital camera era, when everything coming out of Japan looked like a home movie. The action scenes use the most exaggerated shaky cam I've ever seen (the Bourne movies look practically locked on a tripod by comparison), to the point where it's almost impossible to see what's happening. A few memorable moments aside, this is a major step down from the previous Tetsuo movies.
Kotoko
The most thematically challenging movie I've seen from Tsukamoto, this depicts a single mother struggling to raise her child while being tormented by crippling psychosis. A Beautiful Mind delved into the protagonist's hallucinations and delusions, but sometimes stepped back to a more objective view so the viewer could distinguish reality from hallucination. Kotoko offers no such comfort, keeping us locked inside her tormented viewpoint from start to finish, never certain what is real. The cheap digital camera look is on display here too, but this time it works with the story to lend it a harrowing docudrama air.
Some film-makers spend their whole career trying to tell one story, and it's interesting to see the structural parallels between Kotoko, Tetsuo, and A Snake of June. All of these stories see someone trying to lead a normal life, only to be stalked by a stranger who pushes them to awaken to an opposite, often self-destructive way of being, inevitably with disastrous consequences. Tetsuo depicts this as metal corrupting first the body, the mind, and finally the world. A Snake of June (and Tetsuo again) depicts it as a sexual awakening clashing against a disease that threatens to overwhelm the protagonist's body.
Kotoko flips the script in some ways, having the protagonist begin deep within disastrous circumstances, while the stalker seeks to help her back to reality, albeit through equally disruptive means. It's interesting that Tsukamoto always casts himself as the stalker in these stories.
Dai
Pokémon Master
Tár
There are pieces of a great movie here: a powerhouse performance by Cate Blachett as a brilliant, flawed, egomaniac conductor; strong visual storytelling that trusts the actors to convey meaning through body language and trusts the viewer to pick up on it; and some plot elements that have strong dramatic potiential. Sadly it's undone by bloated, indulgent editing that goes round in circles and lacks focus. Numerous small scenes lack any purpose. Longer scenes often drag on longer than needed. Entire sub-plots meander along and are never resolved. There's an argument to be made that the edit is structured in a way that mirrors Tár's comments in the opening scene about the way conductors manipulate the passage of time for the audience, but the result didn't have me tapping my foot to the beat, just tapping it in impatience.
I had the same reaction to another critically lauded character study, There Will Be Blood. Both follow a viciously direct and driven individual on a path that threatens to ruin them. Both come from film-makers who seem so mesmerised by their lead's performance that it blinkers them to the structural needs of the story. So both are films that I can appreciate on an academic level, but will probably never revisit.
There are pieces of a great movie here: a powerhouse performance by Cate Blachett as a brilliant, flawed, egomaniac conductor; strong visual storytelling that trusts the actors to convey meaning through body language and trusts the viewer to pick up on it; and some plot elements that have strong dramatic potiential. Sadly it's undone by bloated, indulgent editing that goes round in circles and lacks focus. Numerous small scenes lack any purpose. Longer scenes often drag on longer than needed. Entire sub-plots meander along and are never resolved. There's an argument to be made that the edit is structured in a way that mirrors Tár's comments in the opening scene about the way conductors manipulate the passage of time for the audience, but the result didn't have me tapping my foot to the beat, just tapping it in impatience.
I had the same reaction to another critically lauded character study, There Will Be Blood. Both follow a viciously direct and driven individual on a path that threatens to ruin them. Both come from film-makers who seem so mesmerised by their lead's performance that it blinkers them to the structural needs of the story. So both are films that I can appreciate on an academic level, but will probably never revisit.