Tonight I watched Dreamcatcher for the first time since I saw it at the cinema (theater, for y'all).

And... just... jeez. Wow. I don't even know where to start.
Just... don't watch it.

Disclaimer: if you dislike the tone of a post I make, re-read it in a North/East London accent until it sounds sufficiently playful

Too late

It's hard to believe that Goldman and Kasdan wrote the screenplay. Some of the character stuff is OK (it felt consistent with other Stephen King adaptations, so it probably comes from the original novel), but the rest is worthless.

Puella Magi Madoka Magica

My going into 7th grade niece was crying her eyes out during this.

Originally a twelve episode TV series, it's now two movies available on Netflix streaming, along with a third film set afterwards. The concept is simple: it's a Magic Girl show. Young girls are told that in exchange for a wish being fulfilled, they will become Magic Girls, powerful creatures who save humanity from Witches. It's a win-win situation! Who would say no?

I'm not familiar enough with the genre to know if there have been deconstructions like this before. I can't believe there haven't been. Regardless, this show is incredible. The world is well thought out, the writing top notch. The animation... well, how they managed this on a TV budget I'll never know. The style during the Witch battles becomes this Victorian/ Terry Gilliam affair that just grabs the eye. The dubbing, too, is rather good.

I don't want to spoil the plot. Let's just say every choice has a consequence, every life saved must be balanced with a death. And, most importantly, never trust cat bunnies granting wishes. Even if you hate anime, give the first movie a try.

THE GIFT

What a treat.  It's a true slow burn thriller that has something to say beyond a few jump scares.  Joel Edgerton wrote, directed, and co-stars in this....I'm gonna say almost Swedish cinema approach to commentary on bullying.  All sides are given depth and no one comes out black or white. 

Rebecca Hall is the star of this and absolutely the glue of the movie.  Bateman gives a career best performance and Edgerton shows remarkable nuance to a role that could have easily gone south with another actor.

Can't this argument be made for well....just about any creative endeavor?  Any medium in which there is a practiced art will have a vernacular with a certain set of standard building blocks such that over-exposure to the medium would inevitably result in contempt and lack of interest.   
   If we're talking about rock and roll, you could say "well I'm tired of all these songs which feature drums,bass, electric guitar, and some really high pitched vocal" 
  If we're talking about hot rod cars you would say "I'm tired of these cars that all look the same, have a giant engine block sticking out the top with big fenders and some shiny paint job"   
If we're talking about any creative writing endeavor you could say "I'm tired of all these authors using the same action verbs, having a plot where it predictably climaxes at the end, and featuring pointless internal character monologues" 

The list can keep going, and these aren't really perfectly analogous examples, but I hope the point comes across pretty clear.  My argument is that its not the topical content of a movie that matters so much as HOW that content is presented.  You show me some film that done in a style of film noir, and has all the standard tropes right down to the tee, and I'll still rate it well if its executed well.  Rouge Nation may have the same content as many of the spy thrillers these days, but the execution was far superior to most.  The pacing, and music, and the order in which secrets and plot points were revealed were all fantastic.  Yes, there were chase scenes, but the execution of them was thrilling!   

Still, I do agree about the over-use of a small set of standard tropes that have developed these days.  Probably Transformers would be the poster child of this /the perpetrator.   

Good if you've read Into Thin Air and know the story well.

Average if you haven't.

Jason Clarke finally does some decent acting.

The events around 4pm on 10th May are the emotional fulcrum of the drama where the critical decisions are made. Outdoor aficionados will know what I mean.

The Gate (1987)

Canadian-American horror movie for kids. The first half is 80s and ropey and underwhelming, and then the second half has some of the most wonderful practical effects (in terms of ingenuity on a budget) I've seen in quite awhile. (And one shot in particular has leapt immediately into my top 10 practical effects ever).

Check it out if you're in the mood for appreciating old-school effects and have 90 minutes to spare (or 45 if you can't be bothered with the first half)!

Disclaimer: if you dislike the tone of a post I make, re-read it in a North/East London accent until it sounds sufficiently playful

Spotted this one on Netflix and gave it a go. I was surprised at how much I enjoyed it. This is a rather conventional thriller in a lot of ways, no denying, but the level of craft in its performances and the way it's shot elevate it a lot. Pacino in particular is outstanding, the sheer physical and mental weariness he conveys in increasing doses is so intense that you begin to feel it yourself after awhile. Williams is wonderful as well—there's something incredibly unsettling about seeing him as a villain, which Nolan exploits to its fullest.

While this isn't one of his flawed masterpieces, it might be his only perfect movie other than The Prestige.

THE MARTIAN

After taking a gigantic dump on science, scientists, and the scientific method in Prometheus, Ridley Scott tries to redeem himself with a movie honouring NASA, JPL, and hard, no nonsense science. And successful too. Good on him.

The movie has the same sentiments as Interstellar and Tomorrowland... Exploration, cooperation, solving problems ourselves without resorting to superheroes, the chosen one, or some supernatural mumbo jumbo. And a there's no punch-up next to a ticking bomb for a change. Recommended.

Seen quite a few films recently, catching up on a few that I've missed.

Tomorrowland
I loved this, particularly its joyous and contagious optimism. The only negative I had was that they ended up resolving things through violence, I really think that the story they were telling was one that could have been wrapped up through talking and cooperation - indeed, I sort of figured that was the overall theme.

Jurassic World
Pretty much what I would have expected (and wanted) from this one. I enjoyed it. A few unresolved plot elements that are undoubtedly for the inevitable sequels but I didn't think any element was eye-rollingly awful. The corporate guy seemed straight out of a James Cameron script but he had very little nuance and missing such a crucial element of his philosophy that he just comes across as one dimensional. Overall though I though tt was better than the previous sequels (not a high bar I'll admit).

Terminator Genysis
I enjoyed this despite its glaring flaws. I liked the concept of playing with the 1984 events, but the moment it left that time it descended into plot hole after plot hole - and that it skirts around who sent the terminators back to the earlier time period I found borderline offensive. Arnold seemed back on form on this one too and he was a joy to watch again.

Mad Max Fury Road
Amazing. It's a good, simple story filled with lots of action and in this respect it was a refreshing throwback to films of old. Everyone behind and in front of the camera is giving their all, which I think gives it something that's missing from most action films of the day.

Great to hear the positive word. Going to see this on the weekend hopefully. Do you think this is worth watching in 3D?

Last edited by redxavier (2015-10-02 21:36:52)

Yeah I'd skip the 3D on THE MARTIAN. Not necessary.