what was the last movie you watched?
- Thread starter Folsom Al
- Start date
I've heard that from several folks that have seen it. As soon as I finish kicking COVID's *** (I've had fairly mild symptoms, I seem to be close to out of it now) I'm taking the fam to check it out. Thanks for avoiding any spoilers short-term. 
Edit 5/29 - woke up feeling pretty much 100% today. If that holds, it's now just a matter of testing negative - hopefully soon....
Edit 5/29 - woke up feeling pretty much 100% today. If that holds, it's now just a matter of testing negative - hopefully soon....
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At long last have another quality option in the Q section.
Sam Raimi’s The Quick and the Dead is somewhere between quirky, pseudo-artistic cult western and hyper-stylized revenge fantasy popcorn muncher paired with the hint of schlocky Victorian gothic influences hovering at the edges, complete with Raimi’s patented zoom cuts from The Evil Dead series.
In other words, there’s a lot to take in. And to be completely honest, it doesn’t all work.
Most of the characters aren’t given enough time to develop as anything more than elaborate cardboard cutouts, and the plot points are telegraphed rather blatantly so nothing comes as a surprise.
But the premise and potential of a 16 person quick draw tournament is all the way rad, and the cast is low key stellar.
Sharon Stone works well as our Bride-like heroine, pulls off wearing either a duster or a corset. Gene Hackman as the villain so evil he’s personally offended when another bad guy tries to not be bad. Russell Crowe is an outlaw turned pacifist preacher forced into the tournament by Hackman. A babyface Leonardo Di Caprio is Hackman’s cocky son with something to prove. Even Gary Sinise makes a cameo in a flashback.
I’d love to see a remake of this with less of Raimi’s specific flair, and more emphasis on developing the 16 gunfighters and setting the scene.
Until then, this is a fun enough romp to kill a couple hours.
Sam Raimi’s The Quick and the Dead is somewhere between quirky, pseudo-artistic cult western and hyper-stylized revenge fantasy popcorn muncher paired with the hint of schlocky Victorian gothic influences hovering at the edges, complete with Raimi’s patented zoom cuts from The Evil Dead series.
In other words, there’s a lot to take in. And to be completely honest, it doesn’t all work.
Most of the characters aren’t given enough time to develop as anything more than elaborate cardboard cutouts, and the plot points are telegraphed rather blatantly so nothing comes as a surprise.
But the premise and potential of a 16 person quick draw tournament is all the way rad, and the cast is low key stellar.
Sharon Stone works well as our Bride-like heroine, pulls off wearing either a duster or a corset. Gene Hackman as the villain so evil he’s personally offended when another bad guy tries to not be bad. Russell Crowe is an outlaw turned pacifist preacher forced into the tournament by Hackman. A babyface Leonardo Di Caprio is Hackman’s cocky son with something to prove. Even Gary Sinise makes a cameo in a flashback.
I’d love to see a remake of this with less of Raimi’s specific flair, and more emphasis on developing the 16 gunfighters and setting the scene.
Until then, this is a fun enough romp to kill a couple hours.
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Also, I watched Johnny Mnemonic this weekend and I have a lot of questions, chief among them: why did I watch Johnny Mnemonic.
Morbid curiosity I suppose. And a barren Netflix option pool after binging Stranger Things. Still, questions abound.
Why is Ice-T dressed as a dreadlocked Mad Max scavenger, but plays the exact same character as in SVU.
Why did Dina Meyer’s agent think her post Beverly Hills 90210 trilogy of Johnny Mnemonic/ Dragonheart/ Starship Troopers was going to be her roadmap to stardom?
Why does Internet (notably, not The Internet) of 2021 look like cutting room floor footage from The Lawnmower Man?
What is the lightsaber whip made out of and why doesn’t the Yakuza hit man just use that, like, all the time?
Why is Dolph Lundgren a terminator preacher?
Why is there a medical doctor named Spider?
Why isn’t Spider spelled with a Y?
How is there a hacker dolphin? (The movie says he was once “used by the Navy” but imma need a little more).
If the Lo-Teks use more devices than NASA to hack “Internet” and fight the man, what makes them “low tech?” The crossbows?
If the NAS pandemic is caused by using the virtual internet, wouldn’t the cure be to just … not do that anymore?
How is Keanu screaming skyward that he wants “pressed shirts, $10,000 a night hookers, and room service” the most nuanced and poignant dialogue in the movie (and possibly of Keanu’s career)?
I suppose most confounding: how did Keanu’s career keep surviving things like this Crappy Blade Runner, and how, after this movie specifically, did he ever get cast in The Matrix?
Also I wonder, does Alex Winter ever watch Johnny Mnemonic (or Chain Reaction, or Replicas, or Dracula, or 47 Ronin) and think “Damn, that could have been me.”
Morbid curiosity I suppose. And a barren Netflix option pool after binging Stranger Things. Still, questions abound.
Why is Ice-T dressed as a dreadlocked Mad Max scavenger, but plays the exact same character as in SVU.
Why did Dina Meyer’s agent think her post Beverly Hills 90210 trilogy of Johnny Mnemonic/ Dragonheart/ Starship Troopers was going to be her roadmap to stardom?
Why does Internet (notably, not The Internet) of 2021 look like cutting room floor footage from The Lawnmower Man?
What is the lightsaber whip made out of and why doesn’t the Yakuza hit man just use that, like, all the time?
Why is Dolph Lundgren a terminator preacher?
Why is there a medical doctor named Spider?
Why isn’t Spider spelled with a Y?
How is there a hacker dolphin? (The movie says he was once “used by the Navy” but imma need a little more).
If the Lo-Teks use more devices than NASA to hack “Internet” and fight the man, what makes them “low tech?” The crossbows?
If the NAS pandemic is caused by using the virtual internet, wouldn’t the cure be to just … not do that anymore?
How is Keanu screaming skyward that he wants “pressed shirts, $10,000 a night hookers, and room service” the most nuanced and poignant dialogue in the movie (and possibly of Keanu’s career)?
I suppose most confounding: how did Keanu’s career keep surviving things like this Crappy Blade Runner, and how, after this movie specifically, did he ever get cast in The Matrix?
Also I wonder, does Alex Winter ever watch Johnny Mnemonic (or Chain Reaction, or Replicas, or Dracula, or 47 Ronin) and think “Damn, that could have been me.”
I highly recommend everyone to watch "Hustle" on Netflix staring Adam Sandler and Juancho Hernangomez. Sandler is an NBA scout for the 76ers who finds a 22 y/o unknown prospect from Spain (Hernangomez).
It was a really enjoyable movie that featured NBA players, basketball personnels, and popular YouTubers. Anthony Edwards was a great actor in this one as well.
My only complaint is that the basketball scenes were a bit too choppy. They didn't need any stunt doubles, so I'm not sure why there were as many cuts as there were. Maybe because the audience is used to it from all the older basketball movies?
It was a really enjoyable movie that featured NBA players, basketball personnels, and popular YouTubers. Anthony Edwards was a great actor in this one as well.
My only complaint is that the basketball scenes were a bit too choppy. They didn't need any stunt doubles, so I'm not sure why there were as many cuts as there were. Maybe because the audience is used to it from all the older basketball movies?
Completed a Winona Ryder Cult Classic double feature this weekend.
First up, Heathers, and it was quite surprising to retroactively recognize just how much of its DNA was baked into the updated and considerably more sanitized Mean Girls 15 years later.
Heathers is of course darker, edgier, more disorienting, and I would say considerably more biting in its satire.
“Whether to kill yourself or not is one of the most important decisions a teenager can make.”
I don’t see that line (or even the whole movie’s premise) flying today. Although it makes complete sense within the context of the film, and demonstrates a supremely sharp critique of popular culture, both teen and general alike.
There is a very 80s “claustrophobic” aesthetic with dramatic, disruptive camera angles and close-ups. Textbook example of the power of distinct and explicit mise-en-scene and cinematography for the “every frame a painting” crowd.
Ryder is a strong lead, able to ground over-the-top ridiculousness to an air of believability. Slater perfectly embodies the slick and sinister dreamy psychopath. Everyone else are kind of stock stereotypes, but it works well with the satire.
Enjoyed Heathers more than I expected to, even if the laughs start to drop off in the third act as things get more tense spiraling down into nihilism.
Speaking of nihilism, next up was Reality Bites which simply put is the extracted concentrated essence of the slacker Gen X 90s. Post-college grad malaise, crudely edited VHS taped documentary of existential truths, job hopping, couch surfing, overdue bills, flannel shirts, off brand MTV, the Gap, the consummate fear of selling out, it’s all here.
Ryder again does well as the film’s emotional center, although her love triangle with Ethan Hawk and Ben Stiller seems to amount to a simple choice between selling out or keeping it real. Also wasn’t sure why she seemed surprised at getting fired from her producer job after intentionally sabatoging the star on live TV.
Disappointed more emphasis wasn’t put on exploring and devolping the other two friends, instead of devolving into a straight forward “will she realize her true love was the nonsense spouting slacker sleeping on her couch the whole time?” Rom-com plot.
Overall, Ryder went two for two this weekend.
First up, Heathers, and it was quite surprising to retroactively recognize just how much of its DNA was baked into the updated and considerably more sanitized Mean Girls 15 years later.
Heathers is of course darker, edgier, more disorienting, and I would say considerably more biting in its satire.
“Whether to kill yourself or not is one of the most important decisions a teenager can make.”
I don’t see that line (or even the whole movie’s premise) flying today. Although it makes complete sense within the context of the film, and demonstrates a supremely sharp critique of popular culture, both teen and general alike.
There is a very 80s “claustrophobic” aesthetic with dramatic, disruptive camera angles and close-ups. Textbook example of the power of distinct and explicit mise-en-scene and cinematography for the “every frame a painting” crowd.
Ryder is a strong lead, able to ground over-the-top ridiculousness to an air of believability. Slater perfectly embodies the slick and sinister dreamy psychopath. Everyone else are kind of stock stereotypes, but it works well with the satire.
Enjoyed Heathers more than I expected to, even if the laughs start to drop off in the third act as things get more tense spiraling down into nihilism.
Speaking of nihilism, next up was Reality Bites which simply put is the extracted concentrated essence of the slacker Gen X 90s. Post-college grad malaise, crudely edited VHS taped documentary of existential truths, job hopping, couch surfing, overdue bills, flannel shirts, off brand MTV, the Gap, the consummate fear of selling out, it’s all here.
Ryder again does well as the film’s emotional center, although her love triangle with Ethan Hawk and Ben Stiller seems to amount to a simple choice between selling out or keeping it real. Also wasn’t sure why she seemed surprised at getting fired from her producer job after intentionally sabatoging the star on live TV.
Disappointed more emphasis wasn’t put on exploring and devolping the other two friends, instead of devolving into a straight forward “will she realize her true love was the nonsense spouting slacker sleeping on her couch the whole time?” Rom-com plot.
Overall, Ryder went two for two this weekend.
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Yeah, and I can't see that they are actually building towards anything in particular. You used to see glimpses of Thanos throughout the movies until they got to Infinity War and Endgame. The glimpses we seem to get now don't seem related at all, and the stories are just all over the place. I assume they will lead somewhere, but I don't know where....
There's a certain element mentioned in Multiverse of Madness that sort of indicates where they're probably headed
but with Fantastic Four being stuck in development hell, I don't know how they're going to get to it anytime this decade.
The next Ant-Man movie will probably be where we see the greater MCU story pick up.
John Hickman's Avengers arc culminating in Secret Wars and a on-ramp for potential franchise reboot
It would also appear that the X-Men are coming to the MCU sooner rather than later.
The next Ant-Man movie will probably be where we see the greater MCU story pick up.
I’ve been going through it pretty slowly and feel a little indifferent towards it. I like what they’re trying to do, but it’s the first that feels very ‘Disney’ to me in that it skews a little younger (which makes sense though, given the source material). I’m left wishing it had a bit more edge and moved a little quicker.
Watched House of Gucci on second flight yesterday since I was tired and couldn't read anymore. Started to nod off a bit at the final half hour so I need to do a rewatch of about 15 minutes. I really had no idea about this story, and didn't recall the ending (especially since I was very familiar with another similar story that happened around the same time). I enjoyed it but I definitely prefer movies under 2 hours (I misread 158 minutes as 1:58). Great cast, Jared Lito is unrecognizable.
I watched this again tonight - was a bit better the second time around. Dad hadn't seen it so we watched it at home after Amazon left a present on the porch. Again, liked it, didn't love it, some things are still a bit disjointed or unexplained. But that's OK. I'm sure some of it will be paid off in future flicks/shows. Speaking of which....
Marvel Phase 5: The MCU continues with new schedule of movies and TV - Polygon
Again, liked it, didn't love it, some things are still a bit disjointed or unexplained. But that's OK. I'm sure some of it will be paid off in future flicks/shows. Speaking of which....Marvel Phase 5: The MCU continues with new schedule of movies and TV - Polygon
I watched this again tonight - was a bit better the second time around. Dad hadn't seen it so we watched it at home after Amazon left a present on the porch. Again, liked it, didn't love it, some things are still a bit disjointed or unexplained. But that's OK. I'm sure some of it will be paid off in future flicks/shows. Speaking of which....
Marvel Phase 5: The MCU continues with new schedule of movies and TV - Polygon
Again, liked it, didn't love it, some things are still a bit disjointed or unexplained. But that's OK. I'm sure some of it will be paid off in future flicks/shows. Speaking of which....Marvel Phase 5: The MCU continues with new schedule of movies and TV - Polygon
I wanted to point out how criminally underrated this post is. Not only did the absolute All-Star @atxrocker pop in after years away from the board for a single post then bounce, but did so to promote quite possibly the most exciting film of the year, and potential antidote to all this Marvel malaise.
Everything Everywhere All at Once
Michelle Yeoh is an international treasure; the Meryl Streep of martial arts movies. But even that supposed compliment ultimately proves reductive for Yeoh; she is so much more than a martial arts actor*. Like Streep, Yeoh has an impossibly sweeping range to believably be the only "Bond Girl" to play as Bond's equal, the beating heart of one of the few martial arts movies to break through to become an American mainstream household name, Jackie Chan's fellow Supercop, a meticulously precise geisha mentor, and the Crazy Rich Asian dragon mom who is both menacing and relatable, all with a sublime mix of sensitivity, strength and superb comedic timing. Yeoh might be the only person on the planet who could have made Everything Everywhere's ambitious and moderately insane premise work.
The fact that Yeoh can carry this film should not be a shock. However, Ke Huy Quan - who most people last saw as Short Round in Temple of Doom or Data in Goonies and hasn't been on a big screen since his child actor days more than 30 years ago - is nothing short of remarkable in his contribution as a seemingly goofy beta-male house-husband who is eventually revealed to be the hinge on which the plot turns.
The film itself defies genre classification. Seemingly a melding of martial arts, slapstick/absurdist comedy, romantic comedy, family drama, religious philosophy, artist spectacle, and superhero films, all interwoven into an immersive and maniacal whole. There is a lot of abject silliness and exposition dumps at the beginning, which slowly evolve into deeper meanings with superb payoffs as the film unfolds.
Perhaps the best example, (and hopefully vague enough to not warrant spoilers) the "villain" of the story is a hyper-aware, godlike entity who can travel the multiverse at will. As omnipotence does, the being becomes bored and begins to dabble in the absurd for entertainment, in this case, putting literally "everything" on a bagel. It's at that moment the entity spirals into nihilism, believing existence has no meaning and going on a multiversal rampage with the "bagel" resembling a zero of nothingness. Eventually, we come to understand the bagel also resembles the enso, or Zen symbol, giving new perspective to the purpose of existence by the end.
Also there's a universe where everyone has hotdogs for fingers.
This movie is overwhelming. Rarely have I dwelled on the philosophic meanings of a film that included a purple sex toy as a fighting prop. This may be simply too absurd and erratic for your tastes, and that's perfectly fine. But films like this need to be supported, otherwise the artform gets static and formulaic.
If you've at all be disapponted by blockbuster films of late, you owe it to yourself and the industry to support films like Everything Everywhere All at Once.
And see it twice.
*I just learned Yeoh supposedly has never been formally trained in martial arts, but knows enough about dance to quickly pickup the moves on set. I suppose that's the martial arts equivalent of learning lines phonetically. What a badass.
Everything Everywhere All at Once
Michelle Yeoh is an international treasure; the Meryl Streep of martial arts movies. But even that supposed compliment ultimately proves reductive for Yeoh; she is so much more than a martial arts actor*. Like Streep, Yeoh has an impossibly sweeping range to believably be the only "Bond Girl" to play as Bond's equal, the beating heart of one of the few martial arts movies to break through to become an American mainstream household name, Jackie Chan's fellow Supercop, a meticulously precise geisha mentor, and the Crazy Rich Asian dragon mom who is both menacing and relatable, all with a sublime mix of sensitivity, strength and superb comedic timing. Yeoh might be the only person on the planet who could have made Everything Everywhere's ambitious and moderately insane premise work.
The fact that Yeoh can carry this film should not be a shock. However, Ke Huy Quan - who most people last saw as Short Round in Temple of Doom or Data in Goonies and hasn't been on a big screen since his child actor days more than 30 years ago - is nothing short of remarkable in his contribution as a seemingly goofy beta-male house-husband who is eventually revealed to be the hinge on which the plot turns.
The film itself defies genre classification. Seemingly a melding of martial arts, slapstick/absurdist comedy, romantic comedy, family drama, religious philosophy, artist spectacle, and superhero films, all interwoven into an immersive and maniacal whole. There is a lot of abject silliness and exposition dumps at the beginning, which slowly evolve into deeper meanings with superb payoffs as the film unfolds.
Perhaps the best example, (and hopefully vague enough to not warrant spoilers) the "villain" of the story is a hyper-aware, godlike entity who can travel the multiverse at will. As omnipotence does, the being becomes bored and begins to dabble in the absurd for entertainment, in this case, putting literally "everything" on a bagel. It's at that moment the entity spirals into nihilism, believing existence has no meaning and going on a multiversal rampage with the "bagel" resembling a zero of nothingness. Eventually, we come to understand the bagel also resembles the enso, or Zen symbol, giving new perspective to the purpose of existence by the end.
Also there's a universe where everyone has hotdogs for fingers.
This movie is overwhelming. Rarely have I dwelled on the philosophic meanings of a film that included a purple sex toy as a fighting prop. This may be simply too absurd and erratic for your tastes, and that's perfectly fine. But films like this need to be supported, otherwise the artform gets static and formulaic.
If you've at all be disapponted by blockbuster films of late, you owe it to yourself and the industry to support films like Everything Everywhere All at Once.
And see it twice.
*I just learned Yeoh supposedly has never been formally trained in martial arts, but knows enough about dance to quickly pickup the moves on set. I suppose that's the martial arts equivalent of learning lines phonetically. What a badass.
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