bullet3 wrote:

the blatant Die Hard/Lethal-Weapon wannabe score that sounds nothing like a Bond film

Well, it was the same composer and that is basically just what his action scores sounded like at the time, he got very lazy. I do like his scores to Die Hard and Lethal Weapon but hate his Bond score.

The fragmented ending of BWP reminded me of the ending of Don't Look Now. That's one of the great psycho-thrillers and kind of out-Argentos Argento.

Ah, now I'm going to be an Opposing Olly and say I don't like the original Texas Chain Saw Massacre. That is one film I never got the appeal of

(but, yeah, it's still better than the remake)

Watched The Master in 70mm. Calling it right now that this is winning Best Actor and Best Supporting Actor for Phoenix and Hoffman. Amy Adams also has a good shot at winning Best Supporting Actress.

It's also by far the most gorgeous thing I've seen all year, you really haven't seen anything like this in years, it's got such a unique and appealing look visually.

The movie is totally engrossing all the way through, has some of the absolute best scenes of the whole year, but really peters out at the end and doesn't seem to pay off on any of the story arcs, or any themes really.

I'm sure smarter folk than I will analyze it to death and maybe can explain it to me later, but it really ends up feeling like the movie doesn't know what it wants to say, unless that's the point.

Still absolutely worth seeing though, just for plain originality. I haven't seen anything remotely like this before, the closest comparison I can think of is Eyes Wide Shut. I have a feeling it will resonate with me for a long time to come.

Stephen Kings It.

It shares many of the same problems as Surrogates in terms of not exploring the universe that it sets up.