Last Movie You Watched.

I was 16 when I saw that initially, and did enjoy it. Had thought that nowadays its 'MTV flash' might have dated it (it was certainly the case when I rewatched Schumacher's Flatliners recently-ish).

My brother was 16 when he saw it, too, Blunts. It was one of his favorites. And I must say, I have a different take on films being "dated." Rather, I like to think of them as time capsules of their era, and TLB is every bit of that. It's something I enjoy about older pictures.

Perilagu Khan wrote:

And I must say, I have a different take on films being "dated." Rather, I like to think of them as time capsules of their era, and TLB is every bit of that. It's something I enjoy about older pictures.

I totally agree on that. Movies being a product of their era isn't that much of a bad thing and sometimes adds to the experience. Haven't got around to The Lost Boys but it's been on my must-see list for a while now. '80's dated is probably my favorite kind of dated particularly music-wise.

Suspiria (1977)

It's been near a decade since I last saw this movie that I can recall. Have to say with Synapse's new restoration it felt like a new experience again as the film is probably the most fixed up it's ever been (I believe previous releases have had missing music cues and of course there are cut versions out there) and has been restored beautifully. Maybe one of the most visually impressive horror movies and pretty unrelenting at times especially the music score which to be honest makes up a ton of the scare factor in itself. I remembered little about the plot itself as my first viewings of this was just being caught up in the visuals and music but here I was a little more attentive and I have to say it does come across clearer now especially remembering the Udo Kier scene going into the end of the film. The acting isn't what I'd call outstanding except for Alida Valli's stern performance as Miss Tanner but it's serviceable and didn't across that hammy especially for this type of film. The dubbing seemed to sound a lot better than what I remembered but it might be because the original sound mix has been cleaned up and restored. Shame though Udo's performance is marred by not hearing his actual German accent during the English dialogue scene which is always a joy to hear (for some true Udo Kier craziness, check out the bizarre Andy Warhol produced Blood for Dracula. Never will I see the word virgin again without hearing "wurgin" in my head). This film is all about atmosphere, music and gruesome murder and the film delivers. The murder scenes are all very elaborate and over-the-top but fitting the nightmarish, almost fairy tale-like vibe of the film. Maybe even more than a Horror classic, a delight in masterful production design and gorgeous neon.

Can't go without mentioning the remake of course. I think it's not totally destined for failure and/or the bargain bin just yet if they manage to make an effective Horror film. Visually it's so far gray and dingy looking which is the total opposite of the classic Suspiria. I personally have little hopes for it as the trailer Salomé posted a couple pages back give me mixed feelings particularly if the director slathers on too much melodrama to make it more "unique" and "independent" in an effort to look to smarter. I say to do it right by upping the amount of witchcraft and dare I say in our PC-obsessed times a little '70's styled exploitation in the vein of Hammer's '70's output or maybe even a little Jess Franco. Would at least stand out especially when we just had the wonderful Neon Demon a few years back which to me feels like the true spiritual successor to the original film.

Tag - reasonably amusing based-on-a-true-story comedy about a group of buddies who have kept the titular game going between themselves for the month of May ... for 30 years. With Ed Helms, Jon Hamm, Isla Fisher and Jeremy Renner.

The Incredibles - because I'll probs catch the sequel over the weekend. Charm, chuckles, eye-popping animation, mayhem to rival same in live-action superhero flicks and a brilliant Michael Giacchino Bond-pastiche score.

Colombiana - passably entertaining action guff with Zoe Saldana and Lennie James. It was on TV, so it's not like I spent anything to watch.

Incredibles 2 - almost as much fun as the original (after I moved away from the family treating the cinema as some sort of fucking indoor picnic area. It was an 11:00 am screening, couldn't they have had breakfast before turning up? GAH).

Made my trip to a local Barnes & Noble for their Criterion sale, first time in several years since I've went to one (or actually went into a store to buy a movie for that matter). My pick-ups:

Scanners (1981)
Despite the exploding head this actually seems a bit lower key in Cronenberg's overall filmography in comparison to where his later films would go. Very solid and lower-budget Psychological Thriller/Horror with some pretty impressive special effects and Cronenberg's gloomy atmosphere on display this time with a 2K print that does lean bit green at times but nevertheless lands well. The lead, Stephen Lack isn't all that impressive but that almost doesn't matter give the early role of Splinter Cell voice actor Michael Ironside as the villain. Solid interview with him on the Criterion disc as well (haven't watched the Lack one, gotta admit besides Cronenberg I'm really here for Ironside). Overall a very entertaining, smaller scale classic that does feel fairly fresh despite many other films doing similar psychic ability plotlines.

The Night Porter (1974)
A much welcome Blu-ray upgrade over perhaps Criterion's most underwhelming DVD release. I get why this film is hated as much as it can be an either slow-paced or unsettling watch depending on your mileage for graphic content and the storyline would probably not go over well in this day and age. Thankfully I'm already a depraved lost cause when it comes to good taste so despite this films flaws it's always been very near and dear. It's a very dreary and clammy feeling film which has been magnified to it's full extent by the excellent Blu-ray transfer. Dirk Bogarde and Charlotte Rampling both give great performances as doomed masochistic lovers and despite some obvious dubbing here and there the performances by the other Nazis particularly the flamboyant ballet Nazi who has the hots for Bogarde's character, Max, are good (Gabrielle Ferzetti is one of those Nazis and is fairly good if not a bit odd feeling given he's playing a German). It's a slow burn for most of it and the film avoids onscreen murder until the very end (offscreen is a different story). This film is all about the bizarre romance between the two leads and the lingering psychological effects of the Nazis (the film plays around the Nazi giving themselves mock trials to alleviate their feelings of guilt, and to "file away" potential witnesses of course). Of course can't forget the famous topless scene of Rampling entertaining the Nazis with a slow dance while singing Marlene Dietrich which has never looked better. Grim, atmospheric and unforgettable like the rest of the film is.

Mystery Train (1989)
A film less about it's characters and more about it's location. A few years before Tarantino would get credit for the idea you have three separate stories that intersect at numerous points. A young Japanese couple on a pilgrimage to Graceland, an Italian countess stuck in town due to an airport problem while transporting a dead relative home to Rome and a down on his luck Joe Strummer who's hooked his friend and potential brother-in-law played by Steve Buscemi into a liquor store hold-up gone wrong. Each story intersects at a Memphis hotel haunted by Elvis and ran by Screamin' Jay Hawkins in a red suit. A sometimes funny and often quiet film that is a realistic feeling portrait of a run-down Memphis that feels like a ghost of a former glory. Tom Waits also makes a voiceover cameo as a radio deejay. I've only fully seen this and Ghost Dog from Jim Jarmusch's filmography and next Criterion sale I might be checking out more after this.

Shamelessly, I recently saw Mamma Mia: Here We Go Again. Admission prices were worth it if it meant hearing Brosnan sing again. Unfortunately (well, depending on how you look at it), he doesn't sing all that much though there is a rather restrained minute or so of him singing SOS, which actually sounded a lot better than his work in the original film. 

It's a bit of fluff, and there's definitely an audience for it. It doesn't try to do anything else other than entertain and if you like the music it's a great night at the movies (plus, the charismatic cast are having a blast so you can't help but not smile). 

And FWIW, it's getting people into cinemas, so for that, job well done.

My Dinner with Andre (1981)

A film in which an actor (Wallace Shawn) and a theater director (Andre Gregory) have a philosophical discussion in a posh Manhattan restaurant. Really, there's nothing more to it than that. Now watching it, and hearing the truly bizarre New Age views expressed by Gregory, I thought perhaps this film was a send-up of the sorts of people involved in theater in New York at that time. But after reading a bit about Gregory I now see that his character was autobiographical and that he actually believed everything he was saying. Shawn's character is rather more sane.

At any rate, MDwA is reasonably thought-provoking, and is perhaps an accurate snapshot of beliefs regnant among the Leftist artsy crowd in NYC in the early 80s. Worth a watch, but only if you're interested in that sort of fare and have a strong tolerance for very talky films.

Mission Impossible : Fallout - Cruise's willingness to put himself right in the middle of jaw-droppingly dangerous stunts that most major stars wouldn't go near definitely gives this particular action-thriller franchise an edge on others. Thumpingly good escapist entertainment.

Blunt Instrument wrote:

Mission Impossible : Fallout - Cruise's willingness to put himself right in the middle of jaw-droppingly dangerous stunts that most major stars wouldn't go near definitely gives this particular action-thriller franchise an edge on others. Thumpingly good escapist entertainment.    

Everyone more or less says the same thing about Fallout. Opens Thursday here in Oz. 

Face/Off

Enjoyable action film. What always strikes me nowadays is the collateral damage that comes from the hero's chase of the villain, but I guess it's just trope of the genre.

Bowfinger

Hilarious. Steve Martin's satire on Hollywood is I'm sure something that went down a treat on its release. I've seen many of Heather Graham's ambitious character, as well as many producers that Steve Martin plays. As much as I like Steve Martin, surprisingly the real highlight is Eddie Murphy. His performances were excellent as both Jiff and Kit, but especially the latter. Great score, too.

20th Century Women

Seemed like a precursor to the following year's Lady Bird, Call Me By Your Name, etc. and I think it's an effective, well acted drama. Elle Fanning has one of the most impressive resumes in Hollywood especially when one takes into account her age. Best thing about this film is the dialogue. The conversations are real and the one-liners at the ends of scenes crackle. While I processed one the next scene came and went, offered another one liner, loaded with subtext, and I wanted to reflect on that one too.

Ant-Man And The Wasp - like the first one, breezy fun with lower-key stakes than other Marvel flicks. Paul Rudd, Evangeline Lilly and Michael Pena bring the banter while Michael Douglas, Michelle Pfeiffer and Laurence Fishburne add the class.

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Erica Ambler wrote:

Jason Bourne

While it's a pleasure seeing Julia Stiles die, this is a joyless, humourless, sexless affair. In otherwords, very left-wing.

I honestly can't remember anything about it, which tells its own story, especially considering I do have a strong recollection of the two first movies in the franchise.

Seven Thieves

A charming caper shot in black and white on location in Monte Carlo and the French Riviera.
Anchored by a strong cast, including Edward G. Robinson, Rod Steiger and Eli Wallach.

Scout's Guide To The Zombie Apocalypse - occasionally one of the free-to-view movie channels will screen something that just suits perfectly, and so it proved with this entertaining comedy-horror's terrestrial premiere on Film 4 last night.

Maybe I'm just an overgrown schoolboy, but a bit where an attractive girl zombie's shirt gets snagged on a gate causing it to pop open and inspiring one of the titular Scouts to help himself to a quick grope made me howl. The #MeToo movement have been very quiet on the rights of undead women, for shame.

Beirut

Solid political espionage thriller with little action and more character. Great stuff from Jon Hamm in his best role since Mad Men, and the ever reliable Rosamund Pike, despite her accent being a little too pronounced (something that bothered me a little in Gone Girl, also). But she was there emotionally. 8/10.

Salomé wrote:

Erica Ambler wrote:

Jason Bourne

While it's a pleasure seeing Julia Stiles die, this is a joyless, humourless, sexless affair. In otherwords, very left-wing.

I honestly can't remember anything about it, which tells its own story, especially considering I do have a strong recollection of the two first movies in the franchise.

It's easy to remember: It's basically a retread of the first three movies. After all these years and the insistence that Damon/Greengrass would only come back if they had a new idea for a movie, this is the best they could come up with. They should have left it dead.

Here's to another follow up with a guy in a control room looking at a giant monitor and exclaiming "MY GOD, IT'S JASON BOURNE".

Salomé wrote:

Erica Ambler wrote:

Jason Bourne

While it's a pleasure seeing Julia Stiles die, this is a joyless, humourless, sexless affair. In otherwords, very left-wing.

I honestly can't remember anything about it, which tells its own story, especially considering I do have a strong recollection of the two first movies in the franchise.

The first one I can remember well. I do remember the bike chase in Legacy, but that's about it.

Makeshift Python wrote:

Here's to another follow up with a guy in a control room looking at a giant monitor and exclaiming "MY GOD, IT'S JASON BOURNE".

Yep, that was painful.

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I recall the trailers being vague about what the whole premise of the film was beyond "Bourne is back", and then the film confirmed there was nothing else to sell but the name.

I also have to wonder if Damon and Greengrass even understood the films they were making in the 2000s. A huge theme of the first three films was about accountability, and how Bourne needed to accept that his life and the negative impact he made on others were because of decisions he made. Then comes along the new film to show he was ultimately manipulated into making those decisions via the death of his father.

I guess the next film will reveal there was yet another Treadstone among Treadstone among Treadstone.

Is there a next film? Last I heard, Damon said the world has had enough of Jason Bourne.

There isn't, but I wouldn't be surprised if that would be their pitch for another.

The first one wasn't made by Greengrass but by Doug Liman. I think the further they have taken it away from the series origins, the less rewarding it has become.

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