Academic Doctor since 2007
Guitarist since 1994
Artist since I could hold a pencil - ?1980
Profile pick by the legend that is Jim Stafford
https://bsky.app/profile/jimstafford.bsky.social
Was fortunate to see this after the initial hype and then the backlash - I had low expectations. Beautifully shot 1970s occult pulpy procedural, and then Cage shows up and is just mesmerisingly weird. Your mileage may vary dependent on Cage being Cage; I loved it.
Was fortunate to see this after the initial hype and then the backlash - I had low expectations. Beautifully shot 1970s occult pulpy procedural, and then Cage shows up and is just mesmerisingly weird. Your mileage may vary dependent on Cage being Cage; I loved it.
In 4K no less. Stephen Lack's woodeness becomes ethereal and alien as the film progresses, and reminds me of Arnie in The Terminator - so amateur as to become uncanny. A perfect foil for Michael Ironside chewing scenery. Probably the best twist ending I've ever seen.
In 4K no less. Stephen Lack's woodeness becomes ethereal and alien as the film progresses, and reminds me of Arnie in The Terminator - so amateur as to become uncanny. A perfect foil for Michael Ironside chewing scenery. Probably the best twist ending I've ever seen.
Started strong. Demi Moore was absolutely fearless (she spent most of her screentime starkers under really harsh lighting) but it started to lose me when the social commentary and Gilliam-close ups gave way to a body horror that wanted us to sneer at the protagonist esp. at the end
Started strong. Demi Moore was absolutely fearless (she spent most of her screentime starkers under really harsh lighting) but it started to lose me when the social commentary and Gilliam-close ups gave way to a body horror that wanted us to sneer at the protagonist esp. at the end
My review: yikes. Brandon Cronenberg gets it *all* on screen in an uncompromising tapestry of post-colonialism and nihilism. Rich people doing horrible things is not a new genre, but Cronenberg's camera is unflinching. This film lingered for days. I think it's probably a masterpiece.
My review: yikes. Brandon Cronenberg gets it *all* on screen in an uncompromising tapestry of post-colonialism and nihilism. Rich people doing horrible things is not a new genre, but Cronenberg's camera is unflinching. This film lingered for days. I think it's probably a masterpiece.
A veritable Who's Who of acting heavy weights stalk the Palace of Naboo with much portent and machiavellian machinations. Very well made and beautifully shot - I very much doubt the Pope in place by the end of the film would remain there for long.
A veritable Who's Who of acting heavy weights stalk the Palace of Naboo with much portent and machiavellian machinations. Very well made and beautifully shot - I very much doubt the Pope in place by the end of the film would remain there for long.
The very definition of guilty pleasure. Would be hard pressed to recommend this to any1 without a huge no. of caveats, and definitely the start of the enshitification of John Woo, but a wild movie. Lance H is acting in a different film (given his piano face - Whiplash?)
The very definition of guilty pleasure. Would be hard pressed to recommend this to any1 without a huge no. of caveats, and definitely the start of the enshitification of John Woo, but a wild movie. Lance H is acting in a different film (given his piano face - Whiplash?)
Well now - this is more like it. After watching, I wondered about Richard Dawkins' basement layout. I'd say this film is nothing with Hugh Grant, but Sophie Thatcher and Chloe East were GREAT also. The LDS church were unhappy about this but some sympathetic overtures at the end.
Well now - this is more like it. After watching, I wondered about Richard Dawkins' basement layout. I'd say this film is nothing with Hugh Grant, but Sophie Thatcher and Chloe East were GREAT also. The LDS church were unhappy about this but some sympathetic overtures at the end.
Demon possession as pestilence- I was overhyped for this, and bar a few scenes, felt the horrors on screen were met with almost nonchalance by the cast. For me, devoid of any real dread beyond a few moments. I like the pitch; the execution bordered on pedestrian
Demon possession as pestilence- I was overhyped for this, and bar a few scenes, felt the horrors on screen were met with almost nonchalance by the cast. For me, devoid of any real dread beyond a few moments. I like the pitch; the execution bordered on pedestrian
Started strong with atmospheric woodland shots building a sense of dread, but it soon stalled. The werewolf is a hairy man, and his family seem a bit relaxed about his morphing hirsutism.
Lycanthropy as a disease vector aiming for The Fly; this was a poor man's Dog Soldiers.
Started strong with atmospheric woodland shots building a sense of dread, but it soon stalled. The werewolf is a hairy man, and his family seem a bit relaxed about his morphing hirsutism.
Lycanthropy as a disease vector aiming for The Fly; this was a poor man's Dog Soldiers.
Less po-faced that Ex Machina, there's a little of the "oopsie, I killed my friend by accident, whatever shall we do?"nudge nudge wink wink, but overall, I had a lot of fun with this, and it had some nice twists and turns. (And Sophie Thatcher is immense.)
Less po-faced that Ex Machina, there's a little of the "oopsie, I killed my friend by accident, whatever shall we do?"nudge nudge wink wink, but overall, I had a lot of fun with this, and it had some nice twists and turns. (And Sophie Thatcher is immense.)
An antiwar film bookended by jingoism - Navy Seals stake out a no name street and get attacked by no name jihadists. There is no retribution, no wider stakes - they're in a tough spot, and get out at great cost. A procedural wonder. Glad I watched it at home for my tinnitus!
An antiwar film bookended by jingoism - Navy Seals stake out a no name street and get attacked by no name jihadists. There is no retribution, no wider stakes - they're in a tough spot, and get out at great cost. A procedural wonder. Glad I watched it at home for my tinnitus!
Korean shockjock serial killer hokum - apparently their internatiomal football team is quite good; you'd never know it based on the fumble of that head. A stinker.
Korean shockjock serial killer hokum - apparently their internatiomal football team is quite good; you'd never know it based on the fumble of that head. A stinker.
What if Final Destination was made by Screaming Mad George or the team behind Killer Klowns from Outer Space? I really liked Perkins' Long Legs; this didn't land for me at all, despite the slight twist 2/3rds through peaking my interest a little.
Great typography on the credits?
What if Final Destination was made by Screaming Mad George or the team behind Killer Klowns from Outer Space? I really liked Perkins' Long Legs; this didn't land for me at all, despite the slight twist 2/3rds through peaking my interest a little.
Great typography on the credits?
A Touch of Zen (1971)
Visually stunning, it displays little of the narrative conventions of Western cinema- this is no bad thing. To my western eyes the film should have finished with Gu walking off from the monastery with his child, but the Buddhist monks rocked
A Touch of Zen (1971)
Visually stunning, it displays little of the narrative conventions of Western cinema- this is no bad thing. To my western eyes the film should have finished with Gu walking off from the monastery with his child, but the Buddhist monks rocked
Time for something a bit more chipper to wash the grime from my soul.
Time for something a bit more chipper to wash the grime from my soul.
Just watched Ninja Terminator with Fee. I've not seen a Joseph Lai movie in nigh on 4 decades, and while the mosaic patchwork of his formula creaks as expected, the Ninja fight sequences were actually quite fun?
Just watched Ninja Terminator with Fee. I've not seen a Joseph Lai movie in nigh on 4 decades, and while the mosaic patchwork of his formula creaks as expected, the Ninja fight sequences were actually quite fun?