(JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

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(JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby J.M. Vargas » Thu Jun 30, 2011 7:01 pm

Ughh! ;-)

Peter Bogdanovich's AT LONG LAST LOVE (1975) at NYC's Anthology Film Archives for the first time. Bogdanovich tries to do for 30's musicals what his "What's Up, Doc?" did with screwball comedies from the same era, minus the wit and humor that Buck Henry and David Newman brought to that movie's screenplay. Despite its bad reputation and lack of home video release (Bogdanovich even wrote a letter apologizing for making the movie after it bombed) this isn't a half-bad attempt at using then-modern tools and techniques (i.e. live recording the sound from the musical numbers' performances) to give an old movie format a contemporary/loving/winking/new spin. You can't go wrong with Cole Porter tunes in your soundtrack (classics like 'Let's Misbehave' and more obscure tunes) along with production values comparable to those of the movies "At Long Last Love" is paying homage to. Hearing and seeing Cybill Shepherd and Burt Reynolds flub their musical numbers' lyrics is actually endearing to their shallow-but-well played characters. A talented supporting cast (Madeline Khan, Duilio Del Prete and John Hillerman) steals the movie from under the leads, but a deathly-dull third act derails the whole thing and it struggles to barely-recover before it all ends abruptly. A curiosity piece that marked the beginning of the end of Bogdanovich as a Hollywood A-lister, "At Long Last Love" is harmless.

Clint Eastwood's THE OUTLAW JOSEY WALES (1976) on Blu-ray. Loved this one growing up (one of the first westerns I remember catching on TV) and, seeing/hearing it in high-def for the first time in years, has made me both fall in love with it all over again and notice that, good as it is, "Josey Wales" has a few flaws. The movie falls into a repetitive pattern (people recognize Josey, he spits tobacco juice, firefight ensues, repeat) and, like the aforementioned "At Long Last Love," there's a descent into nothingness 3/4 of the way into the movie that is barely-saved by a last-reel action finale that ends the film on an underwhelming note. Sondra Locke is essentially playing a then-contemporary hippie character that stands at odds with pretty much every other character in the flick. Bill McKinney's Terrill makes a poor main main baddie for Josey to take down (John Vernon's Fletcher makes for a more interesting antagonist) but that frees the many supporting actors (Chief Dan George, Sam Bottoms, etc.) to make good impressions.

And I just love how, as with "The Good, The Bad and The Ugly," the movie's narrative and bad-assery makes you forget it's happening during the Civil War because you're so wrapped into Josey's personal revenge crusade. I expected an underwhelming and repetitive Richard Schieckel commentary track and damn it, my expectation was sadly met. :(

THE SOPRANOS: SEASON 3 (2001) on DVD. After a very rough first couple of episodes (including a season opener so pretentious and borderline-atrocious HBO had to show it with the 2nd episode, featuring the freaky head of then-deceased Nancy Marchand attached to a double's body, as a two-hour season opener) the third season of "The Sopranos" settles down and begins its irrevocable march toward soap opera antics that characterized the rest of its run. While we still get classic standalone episodes ("Employee of the Month," "Pine Barrens," etc.), experimentation (music mixed/dubbed in peculiar ways, on-screen rewind action, etc.) and colorful guest performances (Joe Pantoliano, Annabella Sciorra, Burt Young, etc.) you can feel creator/writer David Chase beginning to sour on his family of gangsters by making us, as viewers, partake in some of the most uncomfortable and off-putting scenes ever committed to celluloid. Janice's wake for Livia Soprano in 'Proshai, Livushka' is literally nails-on-a-chalkboard unwatchable, but Chase chooses not to cut away and plunge us face-first into the Soprano sibling's moral bankruptcy. And even though this is the only season where AJ (Robert Idler) and Meadow (Jamie-Lynn Sigler) feature prominently in the season's main plot they're still largely relegated to background filler. For the life of me I still cannot belive it took SEVEN WRITERS to spit out such an underwhelming teleplay as 'University.' Warts and all, even mediocre "Sopranos" is still better than most TV out there and the writing/acting/directing as a whole is still some of the best. It's just not Season 1-or-2 "Sopranos" good.

CHARLES LAUGHTON DIRECTS THE NIGHT OF THE HUNTER (2002) on Criterion Blu-ray for the first time. Perhaps the best bonus feature ever made about a classic movie, this assembly of outtakes/deleted scenes/alternate takes from the principal photography of the 1955 motion picture directed by Charles Laughton shows the colorful Brit thespian to be his own movie's biggest fan. Arranged in the same order as the main feature's narrative, even laymen who don't know or care to know how movies are put together (but happen to like "Night of the Hunter" a lot) will delight at the way Laughton plays off-camera the characters that his on-screen actors are interacting with. You can feel the entire movie already existing inside Charles' mind, and struggling to put it together as a visually/acting package that lives up to his own standards. On top of the thrill cinephiles will get at seeing "The Night of the Hunter's" well-known performances from a new light (more Mitchum!) the presence of Laughton throughout the footage is like getting a whole new performance from one of the world's best character actors of the 20th century.

LAW & ORDER: CRIMINAL INTENT - SEASON 2 (2002-03) on DVD. My favorite season of the now-concluded Dick Wolf procedural. So what if it's 4x3 full-screen and only comes with deleted scenes as a bonus feature? Olivia d'Abo's Nicole Wallace (the Dr. Moriarty to Robert Goren's Sherlock Holmes) was introduced this season, back when the cases were still anchored in a semblance of reality (while still embracing the theatricality of the "Columbo"-patented final reveal) and the show still had (barely) enough plot for the Major Case Captain (James Sheridan's Deakins) and A.D.A. (cool-as-f*** Courtney B. Vance's Ron Carver) to spew a few lines here and there. Vincent D'Onofrio's all-knowing Detective Goren is still young, full of weird eccentricities and in almost every scene in this Box Set (love his intrusion into the perp's eyesight space by leaning over all weird); D'Onofrio is the show, and if you don't like or care for him then too freaking bad. Though seemingly doing nothing important Det. Eames (Kathy Erbe) nods, rolls her eyes and spews dry wisecracks along with (and at) Goren. For my money "Cherry Red" and "Probability" have yet to be bettered as standalone, classic "L&O: CI" formula operating at the peak of the formula's format.

THUMBSUCKER (2005) on Sundance Channel for the first time. The aforementioned D'Onofrio and a talented cast (Tilda Swinton, Kelli Garner, Vince Vaughn, etc.) struggle to make anything interesting out of the plight of a teenager (Lou Taylor Pucci) that can't give up his oral fixation, and the social/family repercussions such behavior brings from those around him. It's as if somebody made a check list of what ingredients a low-budget indie movie from the mid-2000's should have (hip alternative music, angst-ridden brooding protagonist, sex/drug scenes, etc.) and then went about mechanically assembling them in front of the camera. Only Benjamin Bratt (practicing for his then-future role on A&E's "The Cleaner") and Keanu Reeves (hilarious as a deadpan hippie dentist who thinks can help Justin with his problem) stand out in an otherwise assembly-line manufactured filmmaking environment.

GAME OF THRONES (2011) on HBO-HD for the first time. The first half of the season's 10 episodes are set-up and getting-to-know-you backstory (it's "Lord of The Rings" meets a meth-infused McBeth-gone-King Lear narrative), which results in a cascade of 'WOW' and 'WTF!?' moments in the concluding episodes. While this makes for an unbalanced viewing there is an ever-present feeling that grown-ups (a lot of them veterans from "The Sopranos" and "Mad Men") are in charge of writing, directing, shooting and bringing to life George R.R. Martin's fantasy-anchored narrative. This knowledge, along with HBO's committment to a second season and growing ratings, makes viewing the incomplete-but-riveting first season of "Game of Thrones" an exercise in managing expectations. And while Sean Bean gets top billing an army of lesser-known actors (particularly "The Station Agent's" Peter Dinklage) keep "Game of Thrones" humming and going even when nothing seems to be happening, when in fact it's all a set-up for seasons to come. Belive the hype, this one's a winner across the board. 8)

GREEN LANTERN (2011) in theaters for the first time. A friend invited me to see this and, since I had no intention to ever see it, said what the hay... yikes! If "Superman: The Movie" is the gold standard for myth-introducing superhero movies then "Green Lantern" is the opposite. A bloated, humor-less (but not for lack of trying, and failing, to crack lame jokes), underwhelming (almost no action scenes until the very end) and chemistry-free (seriously, nobody interacts well with one another... Mark Strong and Peter Sarsgaard are good in their roles but they're pretty much on their own little worlds) assembly-line summer blockbuster with a vapid pretty boy & girl (Reylonds and Lively) failing to ignite any sparks, "Green Lantern" is just plain awful. Somehow Martin Campbell manages to make the training sequence at planet Oa simultaneously too short, too long, too underwhelming and awe-inspiring (the best SFX work happens here). Warner suits are out of their friggin' mind if they OK a sequel with the same creative team/cast.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby the5thghostbuster » Thu Jun 30, 2011 7:26 pm

Well, it seems we ar jumping ahead with this thread, but what the heck.

Black Dynamite - Oh hell yeah! There are some films that are just about impossible to dislike, and this is one of them. The film through me for a loop at first once it seemed to tie up the plot with the Mike Starr character in a montage, only to dive right into the absolute bats__t insanity right after. Best scene: Dynamite and his crew putting together the whole, utterly convoluted plot while they wait for breakfast.

Torchwood: Series Two - In forgot just how much of a leap upwards in quality this series takes from the extremely weak first series. The characters actually start to become compelling, there is actual fun to be had, and Jack is back to being his old fun sell again...to a point.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby JoshRode » Thu Jun 30, 2011 8:53 pm

He just wanted to be the one who named it.

Shrek the Third. Not because I wanted it, but because my now-9-year-old did. *sigh* You try to teach kids about good movies...
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby the5thghostbuster » Thu Jun 30, 2011 9:41 pm

JoshRode wrote:He just wanted to be the one who named it.

Shrek the Third. Not because I wanted it, but because my now-9-year-old did. *sigh* You try to teach kids about good movies...


Whip out Nausicca: Valley of the Wind and see if he'll want to go back to Shrek after ;)
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby JoshRode » Thu Jun 30, 2011 11:06 pm

the5thghostbuster wrote:
JoshRode wrote:He just wanted to be the one who named it.

Shrek the Third. Not because I wanted it, but because my now-9-year-old did. *sigh* You try to teach kids about good movies...


Whip out Nausicca: Valley of the Wind and see if he'll want to go back to Shrek after ;)


Ooh, haven't seen that one. Thanks! It's now fourth on my Netflix list (after the Godfather series).
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby the5thghostbuster » Fri Jul 01, 2011 6:10 am

JoshRode wrote:
the5thghostbuster wrote:
JoshRode wrote:He just wanted to be the one who named it.

Shrek the Third. Not because I wanted it, but because my now-9-year-old did. *sigh* You try to teach kids about good movies...


Whip out Nausicca: Valley of the Wind and see if he'll want to go back to Shrek after ;)


Ooh, haven't seen that one. Thanks! It's now fourth on my Netflix list (after the Godfather series).


Np. You can never go wrong with Miyazaki!
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby molly1216 » Sat Jul 02, 2011 3:46 pm

True Grit - tell me a again why this film was remade? seriously it's a little more like the book than the other one but not as iconic. I kept falling asleep and having to rewind it. the performances are terrific and the visuals are awesome but seriously if they had put all this into an original script i would have paid more attention.

The Way Back - who cares if the guy who wrote it made it up? ...terrific adventure story great locations. worth watching. I was fascinated to see it being a fiction film produced by National Geographic. Ed Harris is one of those guys whose presence indicates something will be worth watching.

trashy horror film of the week: Hilary Swank's the Resident...which is a story we have seen many many many times before...try Bad Ronald 1974...the cinematography is good and the actors are pretty and sexy and there IS a definite creep factor...but also another boring film i end up with my thumb on the FFWD button.

rewatching some new purchases - the Losers and Predators. crashy crashy bang bang with out a lot of crashy crashy. BTW don't bother with the alt commentary on Predators it was genuinely dull.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby Polynikes » Sat Jul 02, 2011 4:44 pm

Atonement. (Yes, I know it was out several years ago, but I had never seen it until last night). My thoughts were similar to those when I watched The English Patient. The high quality of the filming and acting made it an interesting film to watch, but the positive qualities do not do quite enough to blot out the imperfections of the plot. SPOILER alert. (In The English Patient, it is at one level moving when Ralph Fiennes makes the great act of betrayal in order to be able to get back to Kristin Scott Thomas in the cave, and then carries her off to the plane; but at the same time, a part of me always thinks that she looks impossibly fragrant and sweet for a corpse which has been in a cave in a hot climate for several weeks - a detail the film conveniently ignores, and which I know I am meant to put to one side, but I can't stop it leaping into my mind whenever i see that scene). With regard to Atonement, there is a similar problem. I am not referring to unimportant occasional anachronisms and continuity errors, but to the implausible behaviour of the main characters. For example, the idea of an unmarried upper English class lady in the 1930s indulging in a "quicky" in a library just before dinner does not work. It just was not done in the 1930s, so it ruins the verisimilitude, as does the clumsy device of the wrong letter being delivered. I have not read Ian McEwan's novel, but I am told by someone who has that the film is as faithful to the book as can be expected, so this is probably more a criticism of the book than of the film. It was a nice study in emotion, but suffered from taking place in the context of the mass suffering of World War 2. It is difficult to get too bound up in a sad tale of a doomed romance when all around others are suffering the same and much, much worse. It is possible to make very moving and plausible films about war (e.g. All Quiet on the Western Front, Paths of Glory); to be fair, Atonement is concerned more with emotion and character than the horror of war, but setting a tale about a tragic romance to a backdrop of war is a difficult challenge which the film does not quite meet in my view.

High marks for filming and acting, and a nice study in the different aspects of emotion, but I am surprised that Atonement received so many awards and nominations. The novel made it to the top 100 list. I shall have to read it to see if I have the same reaction as I did to the film.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby Dunnyman » Mon Jul 04, 2011 6:55 pm

Cars 2, and with all the criticism coming from all parts of the Jury Room, I was expecting this to not even be good, but guess what? It's excellent. Yep, it's a sequel, and by definition, a lesser film, but being a lesser film than an exceptional first film isn't so bad. Liked: The racing sequences, which were flawlessly animated and all the cars moved like, well, real race cars do. The open wheeled formula car hugged the corners tighter, with less chassis sway, the sports cars flexed more, McQueen leaned a bit in spots, etc. Incredibly detailed stuff. The astonishingly detailed Tokyo, London, Paris and Porto Corsa. It looked like animated cars going through real life streets and buildings. The hilarious Japanese car spa scene, and of course, the one and only Michael Caine's distinctive voice as our super spy. Major props to: A little respect and a fitting tribute for Paul Newman/Doc Hudson. Didn't like: OK, the plot isn't most sophisticated one Pixar has ever done, but jeez, the first movie simply took you into a bizarre world with sentient cars, and where do you go from there? You come up with a way to get them to go around the world and give mater the chance to be a hero. However, way cool who the villains were. Very clever motivation for them.
Ya gotta be kidding me: Weakest short ever by Pixar. Won't deny it. Looked flat, felt uninspired, and worse, felt rushed. C'mon guys, I expect better.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby mavrach » Mon Jul 04, 2011 8:36 pm

Rob Zombie's Halloween I & II. My second viewing of the first one, first time seeing part 2.

Halloween - Mixed bag here. Zombie clearly loves the original, and tried to flush out the backstory more, with awkward results. So now instead we get two stories: Myers' childhood and then the actual remake of the original movie. The two pieces don't really fit in well together, and when we're supposed to meet the heroine she comes off like a minor character. Were we supposed to root for her, or be sympathetic to Myers? The focus was off. And Myers' youth would have been more interesting if it weren't just the obligatory broken home/stripper mother/abusive stepfather/bullied kid story that anybody could write.

Still, I found it interesting, and I still maintain that Rob Zombie is a good director who hasn't quite found his footing yet. His previous House Of 1000 Corpses & Devil's Rejects together feel like they're a rough draft for something freaking amazing.


Halloween II - This was the disaster that I'd heard it would be. For the bulk of the movie, it's the sad aftermath of a horror movie that nobody wanted to see. Realistically the survivors of any horror movie would live on to have completely messed up lives because of the trauma they survived, but that kills the original movie to think about that. Then the remaining characters meander together and it just doesn't work. And wayyyy too many random minor characters that are just there for Myers to kill. And they turned Dr. Loomis into an absolute douchebag with a last-second "redemption" that was worthless. Good performances from Scout Taylor-Compton & Brad Dourif though.

The dream sequences and psychological connections again could have been interesting, but missed the mark completely. This movie gives Laurie Strode the focus that I complained was missing from the original. And her connection with Michael could have worked if that were in the first movie, it could have been a place where it could have gone and been somewhat original. It has a "can we try this one more time" quality, just like Zombie's prior movies.
+1. this is very interesting.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby hoytereden » Mon Jul 04, 2011 8:57 pm

Dunnyman wrote:Ya gotta be kidding me: Weakest short ever by Pixar. Won't deny it. Looked flat, felt uninspired, and worse, felt rushed. C'mon guys, I expect better.

It was a spin-off from Toy Story 3 so, yea kinda lazy.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby molly1216 » Tue Jul 05, 2011 7:55 am

getting more watching under my belt lately...

rewatching or rather re-LISTENING to Treme S1 - which was awesome
they should issue a soundtrack album for each episode, seriously i'd buy it.

rewatching Slings and Arrows mostly because it was on Netflix instant watch
but not forgetting that IMHO it was one of the best things to come out of Canadian tv.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby the5thghostbuster » Tue Jul 05, 2011 11:09 am

molly1216 wrote:rewatching Slings and Arrows mostly because it was on Netflix instant watch
but not forgetting that IMHO it was one of the best things to come out of Canadian tv.


Seeing as how our country has produced a handful of worth while television programs, I am happy to hear you found one of the good ones!

I've recently started watching Babylon 5 for the first time ever, and I am only a short way into the first year. I feel conflicted about it: on one hand, there are some great ideas here, and the writing is pretty darn solid. The actual execution of the scripts in the finished show, however, is where my problem lies. While I have no problem with low buget productions (Hell, I LOVE classic Doctor Who), the style of Babylon 5 feels like a 1990s FMV video game, minus actually playing the game. The lighting is flat, the acting ranges from wooden (Michael O'Hare, who I swear is convinced he's in a 1970s police procedural), to overly theatrical (Peter Jurasik, although he is entertaining to watch, and Mira Furlan), to embarrasing (Stephen Furst) and finally to just plain awkward (Claudia Christain, who seems determined to make sure every line is spoken in monotone). Factor in the forced humour and 1990s sci-fi's inability to actually achieve "sexy" without being cheesy, and the series is off to a rough start. I am sure it will get better, but it is bit tough going.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby Gabriel Girard » Tue Jul 05, 2011 8:32 pm

The Book Of Eli - Sleek and entertaning with great work from Denzel and Oldman. I dig Mila Kunis and seeing Malcom Mcdowell is always great. I did feel it went overboard with the religious stuff. BTW as soon as I saw the box art I knew what the ''twist'' was. Still a fine genre pic.

Night Of The Comet - Another post-apocalyptic film. THis time less sleek but just as entertaining. This has to be one of the most 80's flicks ever. I mean it features neon outfits and a shopping montage set to Cindi Lauper. Cheesy,tongue-in-cheek and hilarious this is a flick that deserves its cult status.

The Adjustment Bureau- This was a disappointment. It's very well made and features good chemistry between the two leads but it could have been much more than what it actually was. I was hoping for an intelligent sci-fi actioner and instead got a love story with sci-fi overtones and only one memorable action sequence. Check out Dancini's review, he nails it.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby Andrew Forbes » Tue Jul 05, 2011 9:41 pm

Batman: Under the Red Hood. Damn, that was good. I really wasn't expecting such fluid animation and complex action choreography. Not to mention depth of character and solid plotting. It's also suitably dark and violent, without becoming gratuitous. Character designs were interesting. They were obviously influenced significantly by the Bruce Timm-universe stuff when characters are masked but, out of the cowls, things are much different. At some moments, Bruce Wayne reminded me of a Katsuhiro Otomo design when viewed straight on. The Joker has the best character design in the movie, departing significantly from the Timm style in many ways, with a more recognizably human face, while adding a creep factor that surpasses most previous incarnations. John DiMaggio does really good work in the role, too, as does Bruce Greenwood as Batman.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby Steve T Power » Wed Jul 06, 2011 7:58 am

Andrew Forbes wrote:Batman: Under the Red Hood. Damn, that was good. I really wasn't expecting such fluid animation and complex action choreography. Not to mention depth of character and solid plotting. It's also suitably dark and violent, without becoming gratuitous. Character designs were interesting. They were obviously influenced significantly by the Bruce Timm-universe stuff when characters are masked but, out of the cowls, things are much different. At some moments, Bruce Wayne reminded me of a Katsuhiro Otomo design when viewed straight on. The Joker has the best character design in the movie, departing significantly from the Timm style in many ways, with a more recognizably human face, while adding a creep factor that surpasses most previous incarnations. John DiMaggio does really good work in the role, too, as does Bruce Greenwood as Batman.


There was too much there I couldn't get past. The whole Jason Todd/Robin II/Nightwing thing always rubbed me the wrong way, and the overt darkness of the tale kept getting undermined by stupid crap like Amazo and The Lazarus Pit (which always irritated the hell out of me). I also find that all of these DC Originals (and Marvel straight to video affairs) have the same stock, rudimentary animated style and feel. They just blend together for me. That said, Greenwood rocked as Batman, and I think I actually preferred DiMaggio's Joker to Mark Hamill's. Blasphemy, I know. I'm looking forward to the animated version of Year One, I'm hoping they can really break the mold a little bit there.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby Andrew Forbes » Wed Jul 06, 2011 11:21 am

Steve T Power wrote:the overt darkness of the tale kept getting undermined by stupid crap like Amazo and The Lazarus Pit (which always irritated the hell out of me). I also find that all of these DC Originals (and Marvel straight to video affairs) have the same stock, rudimentary animated style and feel.

Valid points (especially re: the more fantastical elements), but that rudimentary animation style seems more fluid here. I was expecting stiff and flat, but this was far better than what I've seen from Superman/Doomsday and one of the animated Hulk flicks from Marvel. Granted, the digital line work is still boring as hell, but in terms of consistent proportion and dynamic action, it was quite good.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby Steve T Power » Wed Jul 06, 2011 12:27 pm

Andrew Forbes wrote:
Steve T Power wrote:the overt darkness of the tale kept getting undermined by stupid crap like Amazo and The Lazarus Pit (which always irritated the hell out of me). I also find that all of these DC Originals (and Marvel straight to video affairs) have the same stock, rudimentary animated style and feel.

Valid points (especially re: the more fantastical elements), but that rudimentary animation style seems more fluid here. I was expecting stiff and flat, but this was far better than what I've seen from Superman/Doomsday and one of the animated Hulk flicks from Marvel. Granted, the digital line work is still boring as hell, but in terms of consistent proportion and dynamic action, it was quite good.

I'll also say it was a vast improvement on the Wonder Woman, Green Lantern, and Justice League stuff, which all felt to me like fan fiction turned into flash movies with geek stunt casting for voicework.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby the5thghostbuster » Wed Jul 06, 2011 7:52 pm

Hobo With a Shotgun - A great bit loving tribute to/parody of 1980s cheese. Moreover, if you are Canadian like myself, then it is a particularly fantastic time, with a glorious mix of Canadian talent.

Best moment: the use of "Run With Us" in the ending credits. As someone who watched "The Raccoons" as a kid, I could not help but laugh out loud.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby Steve T Power » Wed Jul 06, 2011 9:39 pm

Rango - Beautifully designed, wonderfully acted, inventive, imaginative, offbeat, quirky... weird as hell. One of the best flicks of 2011, not perfect, but as far removed from Kung Fu Panda 2 or Cars 2 or any of the other juvenile slop that's out there as you can get.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby Andrew Forbes » Thu Jul 07, 2011 8:20 am

the5thghostbuster wrote:Hobo With a Shotgun [...] if you are Canadian like myself, then it is a particularly fantastic time, with a glorious mix of Canadian talent.

Really? Are you sure you weren't just so embarrassed by the awful cast that you had an aneurysm and got confused? The villains were especially horrific.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby the5thghostbuster » Thu Jul 07, 2011 10:36 am

Andrew Forbes wrote:
the5thghostbuster wrote:Hobo With a Shotgun [...] if you are Canadian like myself, then it is a particularly fantastic time, with a glorious mix of Canadian talent.

Really? Are you sure you weren't just so embarrassed by the awful cast that you had an aneurysm and got confused? The villains were especially horrific.


Nope: everyone in this film is playing it at the just the right tone.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby Steve T Power » Thu Jul 07, 2011 11:29 am

the5thghostbuster wrote:
Andrew Forbes wrote:
the5thghostbuster wrote:Hobo With a Shotgun [...] if you are Canadian like myself, then it is a particularly fantastic time, with a glorious mix of Canadian talent.

Really? Are you sure you weren't just so embarrassed by the awful cast that you had an aneurysm and got confused? The villains were especially horrific.


Nope: everyone in this film is playing it at the just the right tone.


I frickin hated it. No, too weak a word... despised, or loathed, those would be more accurate. "Run with us" was about the only bright spot in that entire dark ride. It was like I was slowly being digested only to... wait... i'm just gonna stop with that metaphor right now.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby the5thghostbuster » Thu Jul 07, 2011 12:54 pm

Steve T Power wrote:
the5thghostbuster wrote:
Andrew Forbes wrote:
the5thghostbuster wrote:Hobo With a Shotgun [...] if you are Canadian like myself, then it is a particularly fantastic time, with a glorious mix of Canadian talent.

Really? Are you sure you weren't just so embarrassed by the awful cast that you had an aneurysm and got confused? The villains were especially horrific.


Nope: everyone in this film is playing it at the just the right tone.


I frickin hated it. No, too weak a word... despised, or loathed, those would be more accurate. "Run with us" was about the only bright spot in that entire dark ride. It was like I was slowly being digested only to... wait... i'm just gonna stop with that metaphor right now.


Too each there own. My brother and I had a blast with it, and to be honest, as much as I dug Grindhouse, this honestly captures the feeling of a proper Grindhouse film than the overly slick works from RR and QT.

Actually, a double bill of Hobo With a Shotgun and Death Race 2000 sounds about right...
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby azul017 » Thu Jul 07, 2011 8:46 pm

Transformers: Dark of the Moon - The only post-2000 Michael Bay film I don't hate, and his best entry in the franchise so far. It's not a good movie by any means, but all the action sequences are impressively staged and edited. It even has a decent story to tell in places, although it's muddled with bloated screentime and mostly boring characters. John Turturro's character, for a third time, is just plain useless and annoying. And while Frances McDormand, John Malkovich and Alan Tudyk are doing their small roles clearly for the paycheck, they elevate the material. The action sequences alone make this a great 2011 demo DVD or 3D Blu-ray release.

The Adventures of Robin Hood - Much better. So infectiously joyous, so beautifully shot and exciting. They really don't make movies like these anymore. Now I have to check out Errol Flynn's entire filmography -- can anyone recommend some titles?
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby Mark Van Hook » Fri Jul 08, 2011 6:08 am

azul017 wrote: The Adventures of Robin Hood - Much better. So infectiously joyous, so beautifully shot and exciting. They really don't make movies like these anymore. Now I have to check out Errol Flynn's entire filmography -- can anyone recommend some titles?


Pretty much everything from the first Errol Flynn Signature Collection box set is worthwhile or better (save The Private Lives of Elizabeth and Essex, which is just ok). The Sea Hawk and Captain Blood are aces. They Died With Their Boots On isn't great history, but I happen to really dig the film. Dodge City is great fun.

Looking past these, The Adventures of Don Juan is a bit of a swashbuckler throwback for him and he's clearly a little worse for the wear in it, but it's still a good time. Gentleman Jim is terrific, as is The Dawn Patrol.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby Andrew Forbes » Fri Jul 08, 2011 6:38 am

Mark Van Hook wrote:The Sea Hawk and Captain Blood are aces.

QFT.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby Dunnyman » Fri Jul 08, 2011 8:49 am

Mark Van Hook wrote:
azul017 wrote: The Adventures of Robin Hood - Much better. So infectiously joyous, so beautifully shot and exciting. They really don't make movies like these anymore. Now I have to check out Errol Flynn's entire filmography -- can anyone recommend some titles?


Pretty much everything from the first Errol Flynn Signature Collection box set is worthwhile or better (save The Private Lives of Elizabeth and Essex, which is just ok). The Sea Hawk and Captain Blood are aces. They Died With Their Boots On isn't great history, but I happen to really dig the film. Dodge City is great fun.

Looking past these, The Adventures of Don Juan is a bit of a swashbuckler throwback for him and he's clearly a little worse for the wear in it, but it's still a good time. Gentleman Jim is terrific, as is The Dawn Patrol.

Against All Flags was a welcome late career return to form for Flynn and well worth checking out.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby hoytereden » Fri Jul 08, 2011 9:17 pm

Don't forget Charge of the Light Brigade and Objective Burma. :D
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Moe-"Were you scared?" Larry-"No, just apprehensive." Moe-"Apprehensive, that's a pretty big word.What's it mean?" Larry-"That's scared with a college education!"
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby Steve T Power » Sat Jul 09, 2011 10:45 am

hoytereden wrote:Don't forget Charge of the Light Brigade


Did that ever come out on DVD after? Awesome flick!
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby J.M. Vargas » Sat Jul 09, 2011 5:17 pm

MST3K #109: PROJECT MOON BASE (1989/1953) on DVD for the first time. After making mince of two more charm-free Radar Men From the Moon shorts (1951) ('here at the Cody Institute of Deceptive Editing') Joel and the Bots tackle what might be the most misogynist movie the show ever did. Forget the stuff about an evil foreign spy infiltrating America's righteous space program (with a similar plan used by S.P.E.C.T.R.E. in "Thunderball"). A good deal of the movie's plot, co-written by sci-fi writer Robert Heinlein ('Starship Troopers'), consists of put downs on female colonel Briteis (Donna Martell) from her male colleagues because her low weight qualified her to fly the shuttle over a male pilot (??!!). The sexism and religious morality on display is breathtakingly dated, so much so that the final scene when 'The President' addresses the stranded characters comes across as absurd and pandering. Between the silly shorts-and-caps uniforms worn by the space travelers and an unusually-physical Joel interacting a lot with the screen (including 'POW' props to simulate the old "Batman" TV show's fights) there's some humor derived from watching this "Project Moon Base" experiment. The Eisenhower-era misogyny though (which J&TB's pretty much ignore) is what's most memorable about this Heinlein-penned, Lipert-produced flick.

SHE-WOLF OF LONDON/LOVE & CURSES: THE COMPLETE SERIES (1990-91) on DVD. This was one of the first (syndicated) TV shows I fell in love with after I moved to the States in 1989. A charmingly-goofy (and often bloody as heck) horror show about an American-in-the-UK student (Kate Hodges) trying to find a cure to her monthly lycanthropy curse (get it?) with the help of her professor/friend (Neil Dickson). When not dealing with the search for a cure these two run into all sorts of supernatural/human freaks to keep them busy, not unlike a certain 'Universal' night stalker from the 70's. The chemistry between the leads is solid and, when it switches multiple gears during its brief 20-episode run (from "Incredible Hulk"-to-"X-Files"-to-horror-to-outright-comedy-to-romantic soap-to-etc.) the likability of Randi and Ian is what carries the show through shark jumps that would have killed a lesser program much sooner. Despite the sinful replacement of the original main title sequence with a generic one for this official DVD release, the ability to watch these episodes uncensored and in order (from the show's creative heyday in the UK to its pitiful LA-set conclusion) is worth putting up with the barely-above-VHS PQ and lack of extras. If you love goofy sci-fi/horror and want to see a building block for Josh Whedon-type shows this one is worth a look (around ten bucks on amazon). It ends badly (the move Stateside killed the irreplaceable British vibe from the early episodes) but in an almost so-OTT-it's-OK-to-goof-off blaze of self-aware glory. Highly recommended for adventurous fans of forgotten not-so-classic TV.

MST3K #306: TIME OF THE APES (1991/1974 (TV series), 1987 (made-for-TV movie) on DVD. The KTMA version of this same Sandy Frank-dubbed movie is a mess (cramming a Japanese show's entire season worth of plots into a 100 min. made-for-TV movie will do that) but at least it features a memorable turn by Crow and Servo as riffers (no Joel). For this season 3 return trip the "MST3K" production cut the already-confusing "Time of the Apes" movie down even more. The result is great for riffing (helped immensely by the classic 'I don't care' little kid Johnny) but turns this into one of the most non-sensical and hard-to-follow "MST3K" experiments ever, even if it's just a Japanese cash-in on the early 70's "Planet of the Apes" phenomena. The infamous 'Sandy Frank' song (which has haunted The Brains ever since as Mr. Frank took personal offense to be mocked by name on national TV) is a hoot.

MST3K #820: SPACE MUTINY (1997/1988) on DVD. This one never gets old, a reliable 'go to' LOL-guaranteed experiment when I want to leave something playing in the background while doing something else (like, I don't know, authoring/naming my home DVD recordings of "Treme" Season 2 ;-)) to make a tedious task seem to go faster. May the holy trinity of Sting, Debbie Reynolds and God (with Bob McLarge Huge tagging along) shine bright and happy for ages in "MST3K"-enhanced home video.

Steven Soderbergh's ERIN BROCKOVICH (2000) on HD-DVD for the first time. I expected a little more grit and cinematic craftmanship from Soderbergh (the car crash switcheroo is still cool though), but sometimes the most basic stories make for entertaining-enough mainstream flicks. "Erin Brockovich" isn't great shakes storywise (underdog sharp-tongued won't-take-crap-from-anyone Mom fights life and her employer for the sake of her kids and poor people's health affected by a bad evil corporation... yawn!) but (a) Julia Roberts grabs this star-vehicle by the balls and squeezes as much on-screen energy as I've ever seen from her (no wonder she won a Best Actress award), (b) Albert Finney & Aaron Eckhart give excellent supporting performances, (c) there's lots of really good deleted scenes (including one from which the movie got its poster artwork) to warrant an extended/alternate version and (d) "Erin Brockovich" looks/sounds good in high-def. I was entertained for its 132 min. running time, so it was money and time well-spent. Doubt I'll ever see this flick again unless it's impress-the-date night and I put this on a double-bill with "Notting Hill." :D

LAW & ORDER: CRIMINAL INTENT: THE THIRD YEAR (2003-2004) on DVD. I agree with Judge Gutierrez's take of the third "L&O: CI" season: the absence of Eames (Kathy Erbe, on maternity leave for about a third of the season's episodes) really highlights how important and missed her Watson routine is to complement Det. Goren's (Vinnie D'Onofrio) know-it-all Holmes. I disagree with the Judge though that Samantha Buck's Bishop isn't a memorable replacement during Eames' absence. She's clearly a temp but Bishop goes from being weirded out by Goren to finding his methods fascinating (see 'F.P.S.'). The episode 'Pas De Deux' has perhaps the most far-out interrogation scene in "CI" history when Goren forces a male suspect to dance with him (!), a sign of the theatricality of the "CI" formula beginning to carry the show deep into fantasy-land. Overall though, still one of the better and most fun "L&O: CI" seasons around.

Terrence Malick's THE TREE OF LIFE (2011) at NYC Landmark Sunshine for the first time. I knew absolutely nothing about "Tree of Life" going in other than (a) Malick wrote/directed, (b) it was delayed since forever, (c) Sean Penn & Brad Pitt were in it (with the latter delivering career-best work) and (d) it won Palme D'Or at Cannes. My biggest shock afterwards (besides the 10 people that walked out during the movie's last hour) was the fact Malick shot this with handheld camera angles right in the actors' faces (or chasing after them) and that the expected nature shots lasted seconds instead of minutes. By his previous work's standards "The Tree of Life" feels like a 145 min. music video. ;-) OK, an exaggeration, but this experimental narrative (an exploration of life and evolution, encompassing both the entire universe, mankind's existence and the seemingly-normal life of a 1950's Waco family) is told through abundant SFX/practical shots that can be as maddeningly beautiful (John Dykstra's practical effects work) as it can be infuriatingly conventional (Sean Penn's scenes toward the end, when the already OTT-by-Malick-standards camera work goes full-tilt into Obession TV commercial territory). I can't pin whether Malick is a deeply religious, philosophical or non-believing person since "The Tree of Life" is wide open at any number of interpretations, but it seems like the only logical narrative point (beyond our recent past/present and into the future/non-Earthly realm) where the kind of movies he's been making could reasonably evolve given his resources/limitations. It's no "2001: A Space Odyssey" triumph or as epic a failure as "The Fountain" (ducks!) but an in-between flawed-but-not-bad attempt to capture small moments of beauty and humanism (the baby growing up during the 50's section resonated the strongest with me) within the beauty and terror that our limited lifespan in such a simple-yet-hard-to-grasp plane of existence could grasp at. Will have to watch this again to 'get it,' but not until the Blu-ray arrives.

SEX CRIME UNIT (2011) on HBO-HD for the first time. A no-frills documentary about the NYC DA's sex crimes unit (first in the nation back in '74) which, surprise, is nothing like the thrill-a-minute Dick Wolf fictitious "Law & Order: Special Victims Unit" TV version except that (at least based on this documentary) a lot of attractive Casey Novak-type well-dressed professional young women work there. The couple of cases that are profiled bear no surprises and are neatly-wrapped, a sharp contrast to the real-life headlines this unit has found itself embroiled with lately. Stick with "SVU" for your sex-crime LOL's. :o
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby hoytereden » Sat Jul 09, 2011 7:27 pm

Steve T Power wrote:
hoytereden wrote:Don't forget Charge of the Light Brigade


Did that ever come out on DVD after? Awesome flick!

It did! It's included in the Errol Flynn Signature Collection: vol. 2 box set.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby Gabriel Girard » Sun Jul 10, 2011 8:30 pm

Body Heat - Works as both a modern noir and as a pastiche of Double Indemnity. Sparkling dialogue, interesting script, assured direction and a scorching performance from then unknown Kathleen Turner, you can really feel the heat rising from its every pore. Plus it's got a young Mickey Rourke and a great John Barry score. One of the best directing debuts of the 1980's.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby azul017 » Mon Jul 11, 2011 10:21 pm

Zombi 2 - The gore effects are the only thing worthwhile about this -- the supposedly controversial scenes like the eyeball scene and shark scenes weren't as bloody as I expected. But the acting and scripting are terrible -- why hasn't Rifftrax or Elvira featured this yet? The last half of the film is ripe for Mike Nelson for riff on.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby stypee » Tue Jul 12, 2011 5:15 am

azul017 wrote:Zombi 2 - The gore effects are the only thing worthwhile about this -- the supposedly controversial scenes like the eyeball scene and shark scenes weren't as bloody as I expected. But the acting and scripting are terrible -- why hasn't Rifftrax or Elvira featured this yet? The last half of the film is ripe for Mike Nelson for riff on.


I really want little to do with you man, your ripping on one of the greatest rip-off zombie flicks ever.. you actually like Justin Bieber don't you?
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby Andrew Forbes » Tue Jul 12, 2011 5:48 am

stypee wrote:I really want little to do with you man, your ripping on one of the greatest rip-off zombie flicks ever.. you actually like Justin Bieber don't you?

So, we're emulating YouTube comments now?

Also, you're wrong.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby azul017 » Tue Jul 12, 2011 9:12 am

stypee wrote:
I really want little to do with you man, your ripping on one of the greatest rip-off zombie flicks ever.. you actually like Justin Bieber don't you?


Wow, your aim is way off. I hate Bieber with a passion.

I knew Zombi 2 was a ripoff when I went to watch it, and I wasn't expecting a great movie either. But the acting is just so terrible, and the lapses in character judgment at the end of the movie had me rolling my eyes. There's some great scenes (and good gore) sprinkled throughout, but other than that, I fail to see why so many die-hard horror fans love this.

I'm not stopping you from loving Zombi 2. It's not my cup of tea.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby Andrew Forbes » Wed Jul 13, 2011 7:28 am

[REC] 2. Inferior to the original, this sequel amps up the religious exposition while dampening audience empathy for the protagonists, most of whom feel like the demon fodder they are. Nevertheless, it mostly gets by on sheer relentlessness.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby mavrach » Wed Jul 13, 2011 3:06 pm

Had the house to myself for a few days, so I decided to catch up on some of the Terry Gilliam movies in my collection that I hadn't seen yet:

Fear and Loathing in Las Vegas - Overall I didn't like it. Maybe it's the result of having never tried a drug in my life, but the constant drug imagery got tiring after a while. Still, if you're going to do a drug movie, who better to direct it than Gilliam? He certainly did those scenes well, but they were a bit much after a certain point. But I get the feeling that repeat viewings (which I don't necessarily want to do) will let me notice more subtleties about what the movie is trying to say.

Time Bandits - I tried this when I was a lot younger and dismissed it after a few minutes, but watching it now I wish I'd grown up with it. It does get a little rickety at a few points, and I wish the bandits were better characterized, but on the other hand, David Warner stole the show with his over the top performance as Evil. Fun and imaginative.

The Adventures of Baron Munchausen - Unfortunately I quit on this one after a half hour. It had a lot of effort behind it, but felt childish for the mood I was in. Maybe another day I'll try it again.
+1. this is very interesting.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby J.M. Vargas » Wed Jul 13, 2011 11:32 pm

MST3K #807: TERROR FROM THE YEAR 5,000 (1997/1958) on DVD for the first time. It's a good thing Bill Corbett nailed his Crow persona on the previous Season 8 episode (#806's 'The Undead') because this atrocious no-budget B&W flick about radiation and time travel demands non-stop quality riffing from Mike and the Bots just to be tolerable, let alone watchable. There's not a single likable character to root for, cinematography/effects are dingy-looking and the seriously ugly-looking villain (with a face that prompts our riffers to beg her not to 'bob for french fries') turns out to have a sympathetic background/story that the filmmakers waste on a big 'humanity can save itself' speech at the end. The relentless riffing is funny as hell ('Dead Clam,' 'fight choreography by Arnold Stang,' etc.) and 'When I Held Your Brain in My Arms' has since become a classic MST3K song. Between the suffocating movie dreariness and the lame Observer Planet host segments though "Terror From the Year 5,000" is one experiment meant for diehard MiSTie completists to seek out.

Werner Herzog's CAVE OF FORGOTTEN DREAMS 3D (2011) at NYC's IFC Center for the first time. My first Herzog movie/documentary, and at first I was thrown at how much he inserted himself into a narrative that didn't really need him or his personal observations (which I since found is his mise-en-scène) to be compelling. By the time we get to the radioactive crocodiles (!) I was already into Herzog's quirks, which ultimately don't distract but enrich the achievement that was photographing such a history-rich location under run-and-gun shooting constrains. Besides looking cool (especially when Herzog makes fun of ancient hunting tactics) the 3D effects actually enhance the otherwordly feel of isolation from time and space that the French cave's unearthed secrets (and Herzog's thoughts) provides. Now that I've caught the Herzog bug, what else of his work should I seek?

Matthew Vaughn's X-MEN: FIRST CLASS (2011) in theaters for the first time. It recycles the same tolerance/oppressed minority/revenge plots from the first three "X-Men" movies, it's an obviously-rushed production, the SFX range from good to crummy (was it me or was McCoy's Beast deliberately meant to look like an 80's movie puppet?) and a couple of actors didn't even bother to pretend the movie was happening in the 1960's (I'm looking at you, Angel and Havoc). That said this is as as entertaining (Kevin Bacon hams it up), mostly well-acted (Fassbender's and McAvoy's scenes, especially their reaction during the Hugh Jackman cameo :lol: ) and fun as an "X-Men" prequel could possibly be after the last two entries stunk-up the joint. Setting the movie in the thick of 1960's Cold War paranoia gives "X-Men: First Class" a James-Bond-meets-The Avengers vibe that Matthew Vaughn exploits beautifully. As long as Bryan Singer is involved with this franchise you can count on the movie he produces/writes to at least be good.

Woody Allen's MIDNIGHT IN PARIS (2011) in theaters for the first time. From the moment it starts with a picturesque montage you can feel the Woody Allen of "Manhattan" returning, now older and admiring a city (Paris) where he himself is a tourist with the same awe with which he used to admire his home turf. While it feels put-together from parts of previous Allen plot machinery ("Purple Rose of Cairo," "Zelig," "Alice," etc.) the casting of Owen Wilson gives this a lighter-than-usual anchor whom I'd love to see return in a new Allen movie with a little more confidence. Pleasantly puzzled at his seemingly-innocuous wonderment of what he sees/experiences (Corey Stoll stealing the movie, Adrian Brody overdoing Dali to great effect... endless caricatures of literary giants as star-struck intellectual Americans would perceive them), Wilson becomes the best Allen on-screen doppleganger in years. Woody even pays a back-handed complement to Judd Apatow-type comedies! Only the too-conventional fiancé-from-hell (Rachel McAdams) and predictable endings disappointed me with their simple-minded simplicity. Guess that's the main reason this has become Woody's biggest money-making movie ever.

CONAN O'BRIEN CAN'T STOP (2011) at NYC Landmark Sunshine for the first time. If you can get past the not-insignificant hurdle that there's very little of Conan's on-screen persona on TV or this documentary that isn't staged for a camera (even moments that portray him in a bad light, like an unfortunate self-comparison to Anne Frank or putting down the visiting relatives of one of his 'Coquettes') this behind-the-scenes look at the months between his NBC and TBS gigs putting comedy concerts on the road is hugely entertaining. From Conan's never-ending torture of his personal assistant to VIP visits from O'Brien's celebrity pals to his dressing room (Jack McBrayer, Jack White, etc.) and the different crowds he and his team encounter (especially at rural venues when he's forced to introduce acts he's never even heard of), the man is an artist consumed by his craft that demands the same from those around him. As a time capsule for Team Coco fans of their man's turbulent-but-cathartic year away from TV this would make an ideal Netflix rental on a slow Sunday afternoon.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby HGervais » Thu Jul 14, 2011 7:18 am

Vargas if you are thinking about Herzog's documentaries, try Lessons of Darkness, Little Dieter Needs To Fly, The White Diamond & Encounters At The End of the World. If you want to try his narrative films, Fitzcarraldo, Nosferatu, Aguirre: The Wrath of God & The Bad Lieutenant: Port of Call - New Orleans.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby mavrach » Thu Jul 14, 2011 10:07 pm

Terminator - [SPOILERS] - At this point I really wish this was a standalone film, no sequels, no franchise. Taken alone, this is an amazing little movie that accomplish a helluva lot on a smaller budget. It managed to take small settings and a small cast to create an epic atmosphere where you can believe that the fate of the world is at stake. If it just ended with Sarah driving off with a determination to mother the world, that would have been so perfect. You could let your mind fill in the blanks that they left so wonderfully fascinating.
Now that we have a franchise, which many of us only know the series for, a lot of the plot twists of the original I think are taken for granted

Yes, T2 was amazing, and considered to be one of the only sequels that's better than the first. But how can you even compare it to the original? Terminator was a smaller film, then T2 at the time was the most expensive movie ever made. It's almost awkward to see them together because it's such a huge jump. Then you have two more sequels and a TV series, which further dillute what was intended to be two films at most, then they start contradicting each other.
+1. this is very interesting.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby Attrage » Thu Jul 14, 2011 10:17 pm

mavrach wrote:Terminator - [SPOILERS] - At this point I really wish this was a standalone film, no sequels, no franchise. Taken alone, this is an amazing little movie that accomplish a helluva lot on a smaller budget. It managed to take small settings and a small cast to create an epic atmosphere where you can believe that the fate of the world is at stake. If it just ended with Sarah driving off with a determination to mother the world, that would have been so perfect. You could let your mind fill in the blanks that they left so wonderfully fascinating.
Now that we have a franchise, which many of us only know the series for, a lot of the plot twists of the original I think are taken for granted

Yes, T2 was amazing, and considered to be one of the only sequels that's better than the first. But how can you even compare it to the original? Terminator was a smaller film, then T2 at the time was the most expensive movie ever made. It's almost awkward to see them together because it's such a huge jump. Then you have two more sequels and a TV series, which further dillute what was intended to be two films at most, then they start contradicting each other.


Actually James Cameron stated that although he gave Terminator 3 his "blessing" he felt he'd told the story sufficiently with the first two films so saw no real need for a third one.

Although I enjoyed Rise of the Machines and thought Salvation was a reasonable film (I never bothered watching any of the TV series), I'd tend to agree.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby Steve T Power » Fri Jul 15, 2011 4:54 am

Attrage wrote:
mavrach wrote:Terminator - [SPOILERS] - At this point I really wish this was a standalone film, no sequels, no franchise. Taken alone, this is an amazing little movie that accomplish a helluva lot on a smaller budget. It managed to take small settings and a small cast to create an epic atmosphere where you can believe that the fate of the world is at stake. If it just ended with Sarah driving off with a determination to mother the world, that would have been so perfect. You could let your mind fill in the blanks that they left so wonderfully fascinating.
Now that we have a franchise, which many of us only know the series for, a lot of the plot twists of the original I think are taken for granted

Yes, T2 was amazing, and considered to be one of the only sequels that's better than the first. But how can you even compare it to the original? Terminator was a smaller film, then T2 at the time was the most expensive movie ever made. It's almost awkward to see them together because it's such a huge jump. Then you have two more sequels and a TV series, which further dillute what was intended to be two films at most, then they start contradicting each other.


Actually James Cameron stated that although he gave Terminator 3 his "blessing" he felt he'd told the story sufficiently with the first two films so saw no real need for a third one.

Although I enjoyed Rise of the Machines and thought Salvation was a reasonable film (I never bothered watching any of the TV series), I'd tend to agree.


Oh god... the Terminator can o worms...

T2 gets by more on nostalgia and hype than anything else. Not to say that it's a weak sequel, it isn't - it's a thought provoking effort that really amped the action genre, but it is an unnecessary film. The first stands just fine on its own.

There was no "Rise of the Machines" that flick was an abomination outside of the last two minutes, and I have stricken it from my memory. The Sarah Conner Chronicles had it's heart in the right place, but it played out more like well written fan-fiction . For all the ire the flick got, I actually LOVED Terminator: Salvation, it was a different approach to the series, and did a great job of furthering the first film from the opposite end of the story, outside of the pitiful final scene, which (in either form) leaves a bad aftertaste. With an ending that dovetailed more neatly into the original Terminator, it could have been an amazing flick.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby JoshRode » Fri Jul 15, 2011 5:33 pm

I really liked the TV show, but that's mainly because it had Summer Glau and I can't get enough River action. Too bad Joss didn't direct...
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby mavrach » Fri Jul 15, 2011 8:20 pm

Another thing I forgot to mention about the original Terminator, another reason why it's jarring when held against the rest of the series - It's firmly set in 1984. That first shot of Sarah Connor is painful every time I watch it. And the music and styles, pretty much the entire first half of the movie, is stuck in the 80's.

Yeah Steve I agree about T3. Aside from the awesome ending, it was just about worthless. Sure it had the cool crane chase, but that isn't worth much if I don't care about the characters.

Something I found interesting about Salvation was that it was both a sequel and a prequel at the same time. Can't say I can think of another movie like that.
+1. this is very interesting.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby Gabriel Girard » Fri Jul 15, 2011 8:29 pm

Steve T Power wrote:
T2 gets by more on nostalgia and hype than anything else. Not to say that it's a weak sequel, it isn't - it's a thought provoking effort that really amped the action genre, but it is an unnecessary film. The first stands just fine on its own.

There was no "Rise of the Machines" that flick was an abomination outside of the last two minutes, and I have stricken it from my memory. The Sarah Conner Chronicles had it's heart in the right place, but it played out more like well written fan-fiction . For all the ire the flick got, I actually LOVED Terminator: Salvation, it was a different approach to the series, and did a great job of furthering the first film from the opposite end of the story, outside of the pitiful final scene, which (in either form) leaves a bad aftertaste. With an ending that dovetailed more neatly into the original Terminator, it could have been an amazing flick.


QFT I just wanted to add that there are 2 ideas introduced in RISE that I like : SPOILERS- The revelation that the T-101 will kill John Connor and the fact that Connor was meant to survive; not to stop doomsday.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby mavrach » Fri Jul 15, 2011 9:42 pm

Gabriel Girard wrote:QFT I just wanted to add that there are 2 ideas introduced in RISE that I like : SPOILERS- The revelation that the T-101 will kill John Connor and the fact that Connor was meant to survive; not to stop doomsday.



More SPOILERS - John's fate I agree sounded like a cool idea, but always kind of bugged me because the idea was that the Arnold form was a piece of John's childhood, and that's what allowed him to get close enough to kill him. But that's contradicted by the idea that every terminator apparently looks like Arnold, and John's battled so many of them, and I think he'd just know better than to get teary-eyed when he sees his childhood hero again. I do like the idea that Connor might not survive, while still being the hero that led humanity to survival, fitting tone for the series.
+1. this is very interesting.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby Steve T Power » Sat Jul 16, 2011 4:29 pm

mavrach wrote:
Gabriel Girard wrote:QFT I just wanted to add that there are 2 ideas introduced in RISE that I like : SPOILERS- The revelation that the T-101 will kill John Connor and the fact that Connor was meant to survive; not to stop doomsday.



More SPOILERS - John's fate I agree sounded like a cool idea, but always kind of bugged me because the idea was that the Arnold form was a piece of John's childhood, and that's what allowed him to get close enough to kill him. But that's contradicted by the idea that every terminator apparently looks like Arnold, and John's battled so many of them, and I think he'd just know better than to get teary-eyed when he sees his childhood hero again. I do like the idea that Connor might not survive, while still being the hero that led humanity to survival, fitting tone for the series.

ditto that. the original ending for salvation had Connor dead, and Marcus inspired to lead the resistance. handled properly, that could have been an incredible turn. maybe have some Marcus monologue... now we fight back... here lies john Connor, savior of the human race. the way salvation was set up from the get go, with J C fighting the military beurocracy, well... just look at those initials, you see where this is going. instead, we get the rushed final product.
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Re: (JULY) Fire Works? Can't, He's Unemployed WATCHING (2011) TV

Postby Andrew Forbes » Sat Jul 16, 2011 9:19 pm

All-Star Superman. [SPOILERS] Weak, utterly destroyed by a lack of structure. This is exactly how not to adapt a serial narrative into a feature film. The movie rushes from set-piece to set-piece, desperate to include all the incident while ignoring what the story is actually about. There is no excitement or suspense, because the stakes, timeline and nature of Superman's "illness" are never laid out. He's strong, then he's weak, then he's fine, then he's dead, then he's not. Like, he actually dies then as soon as there is trouble, his eyes open and he says in the most nonchalant manner possible, "Lois," and gets up and does his thing as though nothing has happened. And hardly any of the subplots (the movie is nothing but subplots) are interesting because they are resolved with so little fanfare that it hardly registers and we're on to the next scene. Everything is so rushed and abrupt and inconsistent. Are we in a thoughtful piece about Superman's frailty, or are we fighting lizard men from the earth's core? There was enough good here that I'll probably revisit it as lazy Sunday viewing, if only for the decent-enough Parasite episode, but mostly this is a wash. Anthony LaPaglia makes a brilliant Luthor, though and Ed Asner as Perry White is inspired. James Denton is an awful, awful Superman, though.
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