Last Movie You Saw, Name & Review Movie • Page 205

Funny People - 4/5

yes it’s overly long and the third act needs cut dramatically but I still really love this movie and think it’s one of Sandler’s best performances.

 

Umberto D. (1952, Vittorio De Sica)
Italian neorealism doing a dog film. You don't need the dog, I already hate landlords. Classic INR Umberto struggles against his capitalist overlord and the juice is in its humanity. Umbertos not perfect, we see a man in tough situations making decisions. We tour around Rome and its people. I wish my country had its own working class socialist genre, I guess paying 100 mil for Mad Max will suffice.


I Saw The TV Glow (2024, Jane Schoenbrun)
Not being allowed to watch your favourite show, you've never seen it but you know it is.
Mashing up Pale fire’s unreliable narrator with Beaus’ anxiety nightmares we are picking up the teeness right where Donnie Darko left it.
Owens narrates his life as though it was a TV show but it's got some big ole holes in it. Most notably he leaves out the crossing dressing scene. The one scene that gives a peek behind the Napoleon dynamite Buffy story he's been stringing, to a reality where they act as real teenagers. That scene lets us know the rest of what we are seeing is an expression heavily filtered through fear, guilt, anxiety and denial. Fear of looking into himself, guilt over maddy’s suicide, denial of those events and anxiety over the future that the person he cant accept will have.

The second most telling moment is when he looks straight at the camera and says “I even got a family of my own, I love them more than anything” LOL no you don't.

 

Actually, I'm in the middle of Brooks' original The Producers right now and this might actually be the best comedy of all-time lol

 

Furiosa is really fucking good, right up there with Dune 2 this year

 

Just finished watching Beverly Hills Cop : Axel F and I really enjoyed it big time, Eddie Murphy hasn't missed a beat reprising the role of Axel Foley and the new additions to the cast Joseph Gordon-Levitt and Taylour Paige were really good plus loved that it was shot on location and the action was practical and shot in camera as well.

My ranking of Beverly Hills Cop films..

1. Beverly Hills Cop 2
2. Beverly Hills Cop : Axel F
3. Beverly Hills Cop
4. Beverly Hills Cop 3

 

Yeah, I'm pleasantly surprised with all of the reviews I've read and am excited to watch it.

 

U will really like it!!

 

I’d rank them

1 > Axel F > 2 > 3 probably.

 

Possibly in Michigan - 4/10
Well, I finally watched this and I'm not sure it was for me, which is a bummer because I usually love this weirdo SOV stuff (especially when it's like 10 minutes long). I'm not quite as convinced as others that it reaches that level in terms of messaging, but I'm interested in revisiting after I've read more about it. (Watched on Youtube.)

Dead Alive - 8/10
Just so fun and goopy and gross. It doesn't quite reach the level of Bad Taste for me, but I love the feral stop motion monkey and the fucked-up living dead baby and lawnmower sequence and the giant bone mother monster. I am consistently impressed that Peter Jackson got The Lord of the Rings after movies like this, but I am not surprised given the sheer practicality and visual effects of it all. Sam Raimi, eat your heart out.

The Producers (1967) - 9/10
My new favorite Brooks film, and one of the funniest films I have ever seen. I love Nathan Lane, and I did enjoy the remake of this when I saw it (probably because it feels borderline shot-for-shot), but Zero Mostel and Gene Wilder were literally born for these roles. From a directing standpoint, you can occasionally tell it's one of Mel's earliest, but there's also some incredible moments here (like the extended title sequence and musical number) along with some of his funniest writing, especially considering it's not parodying anything. It feels as joyfully deranged and sharp as it did over 50 years ago, but with an ending that wholesome, I'm convinced Mel doesn't have a mean bone in his body.

Halloween 4: The Return of Michael Meyers - 7.5/10
This one felt a little more slight this time around, but it still comes closest to recapturing the atmosphere and tone of the original. If we're going to criticize Halloween 5 for Jamie's seemingly psychic connection to Michael, we should also do that here, although it's tough to care when Danielle Harris is acting circles around her adult cast mates. The whole thing feels like a relatively tasteful attempt to recapture what made the original special while trying some new things; it's mostly successful, warts and all. Effortlessly cozy.

Halloween 5: The Revenge of Michael Meyers - 7/10
It's funny how my mind changes on these franchise films with every rewatch. What I used to see as the most boring original Halloween film now feels like more of an admirable failure. They may have chickened out on going through with Halloween 4's incredible ending, but there are other swings taken here, such as taking out the main character half an hour in and having Michael take his mask off and briefly show emotion during his confrontation with Jamie. Donald Pleasance is really maxing out on his unhinged performance as Dr. Loomis here, at times distractingly so, but Harris and her fellow child actors still make the film worth watching. Michael pretending to be Tina's boyfriend in a different mask is a genuinely creepy moment for the franchise, and I won't lie - I kinda liked seeing him use farm equipment and cars as weapons.

A History of Violence - 7.5/10
At first, I was a little concerned by how on the nose the whole "perfect American family" thing felt at the beginning of the film, but as it went on, it became clear that Cronenberg was only setting this up so he could knock it down so viciously later on. The film continues to gather weight and depth throughout its runtime as we see Mortensen's character accept his past and attempt to reconcile it with the family he's lied to and the man he wants to be. It is, at times, heartbreaking. Cronenberg directs the relatively sparse violence here with the same perverse fascination he's known for in his sci-fi body horror films. The entire cast shows up to work here, with Mortensen and Hurt turning in particularly spellbinding performances.

The only thing that can stop a bad guy with a gun is Viggo Mortensen with a gun. The only thing that can stop Viggo Mortensen with a gun is his compelling desire to leave the past behind and become a family man.

Straw Dogs - 8.5/10
The way I can disagree so often with these character's beliefs, decisions, and occasionally the messaging of Peckinpah himself while still being in awe of this film just goes to show how special it is here. These characters are some of the most real and nuanced that I've ever seen on screen; Amy's assault (and her constantly evolving reaction) is horrifying and confusing because assault is so horrifying and confusing. I feel a pit in my stomach hearing her cry out for her abuser to save her at the end of the film because I recognize self-preservation. I identify with a passive character like David being walked all over until it comes to his family, his home, his peace of mind, and I still feel frustrated at the way he handles many of the situations in (including those where his wife deserves better). I see the way these contract workers are willing to look the other way when it comes to their own heinous actions, but spring into action when it comes to the cousin or daughter of one of their own, valued not because they are women but because they are blood. It's true that Straw Dogs is at times very bleak, and in an even more unfortunate way, realistic, but I believe it shows the way we are all capable of great sympathy and actions just as we are of all kinds of violence and selfishness. I choose to see hope in that as opposed to nihilism.

 

The Producers (1967) - 9/10. Hilarious satire. But I can see how some would be offended by it. I’ve only seen the remake, but I can see why they cast Nathan Lane in it. He’s very similar to Zero in this.

 

Moonstruck - 8/10. it’s my wife’s favorite movie and I watched it with her when we first met, but that was over ten years ago and I don’t remember anything from it for some reason.
This was so strange and honestly felt like a play. The ending was pretty unexpected and
Nicholas Cage’s performance was ridiculous.

 

Bubba Ho-Tep - 6/10
On rewatch, this is so much slower than you would expect a movie about senior Elvis (played by Bruce Campbell) and black JFK fighting a southern mummy would be. I mean, it's practically a character drama filled with alternate memories from Elvis' life, punctuated by the occasional Raimi-shot (despite being directed by Coscarelli) or soul-sucking kill. It may not deliver what you're looking for, but it does have a shocking amount of heart and is mostly as funny as its premise suggests, all due to Campbell's and Davis' performances. The "mission prep" sequence reflecting two senior citizens finally having a purpose again and getting ready to sneak out like two young boys is a particular highlight.

Frankenhooker - 8.5/10
The most overtly funny Hennenlotter film I've seen. The Jersey accent is A LOT, and Lorinz' character is constantly talking to himself, but his clear improvisations (especially when sorting through a pile of disembodied appendages) is very funny. Honestly just such a tight film, 80 minutes with less problematic materials and more heart than you would expect. Come for Patty Mullen's rare, show-stopping performance, stay for the film's uniquely twisted Tales From the Crypt-style ending.

Basket Case - 9/10
Likely Hennelotter's best. It's rough around the edges in the way many directorial debuts are, a bit more meandering than Frankenhooker but a little meaner and a little sharper. As corny as it sounds, Hennenlotter really does make NYC a character in his films, and when we run into sex workers or queer individuals, the joke is never on them; it feels like authentic representation of the city at the time. The film still has a number of laughs, but Belial's design, shrieking, (and use of several VFX mediums to bring him to life) make him genuinely creepy in a way that isn't common for other Hennenlotter flicks.

Revenge (1986) - 7/10
This is exactly what you think the sequel to a movie you've never heard of titled "Blood Cult" would be. A good time with alcohol.

Pearl - 10/10
Just as colorful, beautifully scored, and nuanced as the last several times I watched it. An empathetic and shocking character study, a theoretical proto-slasher, a true modern horror classic.

X - 8/10
Watched after Pearl this time as opposed to release order, and it really did some new things to me. Locations are recognizable, the themes of aging feel less out of left-field, and West's job of replicating 70s grindhouse horror (Texas Chain Saw Massacre in particular) feel more genuine and less gimmicky. Really inspired casting and needle-drops - even the "Landslide" moment didn't bother me as much this time.

"We turn people on, and that scares them."

Toy Story - 9/10
Some of the animation has aged considerably, but other sequences are still shockingly good, and this has SO much humor that went over my head as a kid. There is somehow both an Alien reference and a penis envy joke in this film that I've never recognized, despite having seen it dozens of time. Sid's toys are seared into my brain. Incredibly fun and funny with an obviously inspired voice casting. The story feels a little slight 30 years later, but it's an incredibly tight 80 minutes, cozy as ever. My man Randy snapped on this one. I'm excited to revisit the first sequel and finally really experience the others.

 

I showed Toy Story on the last day of school this year to my 2nd grade students. Thought it held up so well. Lots of innuendo the kids would never get, lol.

 

Axel F was a fun time. shame Netflix had hands on it could of been fun crowd pleasing theater event. oh well.

 

Nashville (1975, Robert Altman)
A time, a place, a people, a culture. I was dreading a 2 and half hour country musical but I didn't know who Robert Altman was. Im not a musicals man, that might be on Baz Luhrmann again, he poisoned me on Shakespeare with Romeo and Juliet, the Great Gatsby and possibly all musicals with Moulin Rouge. Not the time to reassess that though, Nashville is no musical. People arn't break singingly into theatertics, life happens and in Nashville music happens.

The plot is loose as a goose, we are treated to Raymond Carver slices where the interaction itself exposes all the character we need, a journalist makes comments about missionaries in africa while watching the choir, the mother teaching her children sign language takes a call prepositioning her while the husband is preoccupied, the deluded hope of a busty singer. We look at these people on a personal level and its mess yet we accept them, we see them getting it right and wrong, fucking and fucking up, we see them create glorious music together and in the same room interchangeably conduct business and politics. It is hard to accept muchless appreciate any mess in politics, but on a wider view that's part of the recipe, another ingredient mixed into the culture by its people.



All of Us Strangers (2023, Andrew Haigh)
I see dead people and they are suffering modern queer alienation.
Before we drink the juice I'll start with the meta ghost plot analysis. Talking about plot makes me feel like a youtube thumbnail and that's one of the worst things you can be, it's not the point of the movie but All of Us Strangers uses its plot devices in a fun and creative way to explore its themes.

On the meta level Adam is writing to his parents and to explore his trauma, and we watch a movie write a ghost story exploring how modern gay men are treated and how that affects how they fit into society. The ghost story is they are all dead, Adam died in a fire, mescal died after Adam turned him away and his parents are long gone. In their world people don't need to be alive to affect it, that's true of trauma and in writing.

Paul and Adam are in limbo, ghost stuck between worlds that can't yet move on. They discuss their families and how they sit in between acceptance and oppression. These scenes are the juice, art discussing the issues of our time illuminated by the medium. Watching Adams parents try to accept him we see the struggle philosophic changes have against the hold deeply embedded cultural institutions have on our instincts and the rippling effects it causes. If Adam and Paul had met at the right time they might have made it. That's no solution, it's an instance of luck in a world where populations are stranded. Still sometimes that happens, and it sure is magical when it does.

 

You have been watching some good ones.

 

Finding Nemo - 8.5/10
One of the best (and most obvious) takeaways of revisiting films like this as an adult (and not just a future parent) is realizing how smart and effective it is to tell an emotional story about parents and wrap it up in a beautiful, colorfully animated adventure film that manages to cater to and please both kids and the folks taking them to theaters. Simple as it sounds, Finding Nemo is not only fun as a family film, but emotionally effective, which goes a lot further these days than it when Pixar was constantly producing home-runs. That's before we get to the expert voice-casting of Albert Brooks, Willem Dafoe, and Brad Garrett; from all angles, Finding Nemo remains a film in the upper echelon of Pixar's ranks.

Bones and All - 7.5/10
An impeccably directed horror-road romance that is slightly held back by its inherent goofiness. There's a YA/camp element that is hard to shake when you've got two teenagers arguing about their situationship after having just eaten someone together. Still, Chalamet and Russell lead the film with strong performances, and one of the strangest parts of the film ultimately ends up being its most unnerving; Mark Rylance's performance as Sully may deserve to become an icon of the genre over time. Until then, Flanagan could take some notes from what Guadagnino is able to do with the genre.

Longlegs - 7.5/10
Osgood Perkins knocks it out of the park when it comes to creating visually gorgeous, atmospheric, and truly unnerving visuals, but his actual worldbuilding both tells too much and not enough in many of the wrong places. Most of the characters here deliver stilted dialogue with thousand-yard stares (which could be argued is a feature, not a bug) aside from Blair Underwood, who arrives straight out of a 90s action/crime film. That's before the Cage of it all, who, despite being undeniably himself, transcends to deliver genuine scares through his unforgettable prosthetics. I love all of the pieces here, and I'm hopeful that upon rewatch, they will mesh in a way that cements this as a classic, but for now, I'm left thinking about how bizarre this was, in ways both good and bad. Hail Satan!

MaXXXine - 10/10
Just an absolute blast through and through. As the ending of a trilogy, I can understand some thematic disappointment; as a standalone that sets a separate tone early on and commits to being capital-B Bonkers, it succeeds with flying colors. Even minor distractions such as digital retro television screens of the presence of Halsey and New Coke give way to Bacon's undeniably hammy and charming performance as a Cajun P.I., or the fact that Maxine gets a finale at the foot of the Hollywood sign(!!!). More movies should have the balls to feature landmarks in their climaxes, and to crush someone's balls on-screen using practical effects. West's X trilogy comes to a bold and chaotic end that sends up De Palma and giallo films without feeling like a copy of a copy the way X occasionally risked doing. It may not be the innovative film that Pearl is, but it's likely the most fun I'll have at the movies this year, and it solidifies Goth's presence (not to mention a welcome turn from Moses Sumney) as a true star. I could have watched another two hours of this.

Dr. Giggles - 6/10
An early 90s slasher that's genuinely a little too competent for its own premise. Dr. Giggles is an obvious precursor to The Dentist, complete with flashbacks and an insane asylum killer with some actual depth (bizarre it might be). Unfortunately, the film is just a little too sleek and substance-less to match the exquisite camp of its cheap, Yuzna-produced successor. Forgettable as it is, there are some really knockout kills, though.

 

The Monk and the Gun - 9/10
What a patient, poignant movie about the push and pull between tradition and modernity. At first I was worried it was moving much too slowly, but the film is simply settling you into the pace of life in Bhutan on the eve of its first democratic election. Once the “plot” shifts into gear, though, it ends up becoming a quietly sharp and funny look at what we leave behind in the name of progress, all without judging characters on either side of this divide (though the filmmakers take a handful of opportunities to hold up a funhouse mirror to America’s idea of democracy). It’s wonderful; a refreshing escape from our Current Situation®.

Despicable Me 4 - 6.5/10
The Minion stuck in the vending machine for the whole movie is the height of comedy.

 

Horror Hotline… Big Head Monster (Soi Cheang, 2001)

You'd think from that title this is going to be a fairly disposable Hong Kong horror comedy, maybe something like the Troublesome Night series, but there's something much more sinister afoot here.

It's shot on what looks like DVR handheld camera style, with that very late 90s / early 200s aesthetic to it, a film made cheapy, quickly and roughly, but that doesn't mean it's not effective. There are parallels to the Blair Witch in it's slightly documentary / found footage aesthetic, with shaky cameras, even if not in a structural or narrative way. I found myself thinking of Kiyoshi Kurosawa's films at the turn of the millennium, very modern versions of folk horror, incorporating new technology, and suburban domestic horrors.

There's some fantastic horror imagery here, and for the most part it goes for uncomfortable chills as opposed to outright horror moments, the sense that there's something lurking here, that something is just not right.

It's incredibly effective at that, and it makes me think whether this would be much more renowned if it had a normal title, as it seems to promise camp thrills, which never threaten to appear.

 

Happy Birthday to Me - 6/10

what in the fuck is this? it goes along seemingly making some sense and then it just veers straight into batshit insanity. then some pretty normal stuff happens. ok cool. then right back into insanity. i thought the David character and that whole relationship was sus. the mom was comical. a complete caricature of a person. as weird and at times nonsensical as this movie can be, it somehow kinda held everything together enough to make a pretty compelling film that suffers mostly from its length. I felt it by the end

 

Wall-E - 10/10
Revisiting the Pixar films has been bringing me a lot of comfort over the past couple of weeks, but I did not anticipate this entering my "favorite films of all time" list. It's just got everything. Impeccably directed and beautifully animated, genuinely funny and cute without being cloying, constantly engaging without much dialogue, and brimming with heart. A film that captures not only the magic of classic Disney films, but also Spielberg's sci-fi adventures. Hopeful even in the face of adversity. I don't think another Pixar rewatch is going to hit as hard for me as this did.

 

The Vourdalak - 8.5/10

I don't even know how I stumbled on this (in theaters now), but it's a French (subtitles) 'vampire-esque' tale that's both minimalist and old school to great effect. Grainy cinematography, featuring puppetry and practical effects vs cgi, and just a few settings and characters, it evoked a stage play / gothic horror from the 70's. Spooky, a little campy, and breezing through the story, it was a great time and surprisingly enjoyable for something so out of my wheel house. My wife would say I'm robbing it and it was a 10/10 but she's an art history major and there are a lot of shots that pay homage to art throughout the centuries, not all of which I picked up on. I should have had her write this review. Also regular viewers of creature flicks throughout the decades will undoubtedly pick up on a lot as well.

It also helped that I saw it in a historic movie theater that felt more like a large living room / basement setup than an actual movie theater, but everyone else there seemed to love it to so it was a cool communal experience. It probably won't appeal to a lot in here as you seriously have to buy into the style pretty early (as soon as you see the titular Vourdalak you'll know what I mean) but I think there are a few regular reviewers in here who should put this on their radar.

Artsy, spooky and a stylistic gamble. Not so scary as it was atmospheric but I'll be paying attention to what Adrien Beau does next. I'd expect a more mainstream flick and a lot of people wanting to work with him.

 

I never thought I'd see a Breillat film in theaters, but Last Summer was fascinating. You don't get that sort or moral complexity in American films, even in independent cinema.

 

Coreys - 8.5/10
Connor O'Malley managed to condense Brandon Cronenberg's entire career into a 12-minute YouTube sketch lmao. The world is not ready for his inevitable directorial debut.

 

Pontypool - 7/10