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Grand Budapest Hotel. Wonderful. Wes Anderson's take on an Ealing comedy, perhaps, but dripping with Old World style. This is the sort of thing that won't make a huge impact but will be treasured for decades by cinephiles. This is why I love film.
Last edited by Zarban (2014-06-21 05:40:29)
I may have said it in another thread, but it's one of those musicals that, as I was watching, I thought couldn't be adapted into a movie. There is a lot of fourth wall breaking: that's the entire structure of the thing, these guys telling their different points of view. It was written to take advantage of the entire format of live theater, and removing it from that either requires massive changes to give the audience the same feel, or just ends up feeling a bit empty.
I wish they would just film more live broadway shows, in front of an audience. That's how they were created to be seen.
Watch this movie ASAP. It's a total delight. One of my faves of the year so far.
I watched Stripes this afternoon and realized that if you didn't live thru the coke-fueled, unfunny comedies of the late 70s and early 80s you might not be able to fully appreciate this hard-won victory for comedy. Murray and Ramis are gold, and John Candy, PJ Soles, and and Sean Young assist, but the script is up and down and off in different directions for each act. The premise is paper thin (two wise-cracking losers try to get their lives together by joining the army), and the third act is ridiculous. The wonderful Warren Oates and John Larroquette are under-written heavies. But the wise-cracks and many of the gags really are sharp, and no one delivers a monolog like Bill Murray.
Still love it but not as much as some others.
Last edited by Zarban (2014-06-22 21:27:14)
You also have to consider it as a male reaction to Private Benjamin, and know the state of the US army about that time. As for the third act, it is almost as if they realized the basic training movie they wanted to make was only going to fill fifty minutes, and quickly flailed around for something else for them to do.
You also have to consider it as a male reaction to Private Benjamin, and know the state of the US army about that time. As for the third act, it is almost as if they realized the basic training movie they wanted to make was only going to fill fifty minutes, and quickly flailed around for something else for them to do.
Yes! I think of Private Benjamin as an 80s comedy and Stripes as a 70s comedy, but PB was actually 1980 and Stripes was 1981!
Heartbreak Ridge, Full Metal Jacket, Police Academy all had the same problem, solved poorly (sending them to Grenada), well (sending them to Vietnam because the movie was set in that time), and adequately (sending them to help quell a riot).
The state of the US Army could have been played up a bit more even (the Army might just take a couple of 29-year-old losers in 1981 because Vietnam loomed large in the memory and recruitment was way down, just like the 2000s). But there's only one gag (albeit a very good one) where Cruiser introduces himself and says that his father and uncle (I think) were in the army, so he thought he might as well join before he got drafted. And Ramis and Candy share a hilarious look, and the sergeant painfully explains that there is no draft anymore (I think it ended in 73 and we exited Nam in 75).
Last edited by Zarban (2014-06-23 02:40:48)
In the early '80's the US Army was still referred to as "the all-volunteer Army" - which of course it has been ever since, but immediately after 'Nam that was quite a change. And Time magazine was running stories like this:
Because of the sour national aftertaste of Nam in general, the prevailing opinion at the time was that only the most desperate or stupid would actually voluntarily enlist. Murray basically says exactly that in Stripes.
So Stripes is very much of its time - the Army as depicted pretty much is the way the Army was perceived. And I think the ending was what made the film so popular - even though it's a bit on the wacky side and features a pair of slacker goofballs, the movie says that even the most unlikely of soldiers can still step up and get the job done. 'merica, fuck yeah! We're ten and one! In the end, it's a surprisingly pro-Army movie.
Fun fact - in 1980 the govt. didn't bring back the draft, but they reinstated draft registration (Jimmy Carter thought we might continue to have troubles with the Middle East, how crazy is that?) and yours truly was required to fill out a registration card. But I wasn't particularly worried - I figured if somehow I got drafted, it would be mostly like Stripes. At least for the three days or so before the Army would almost certainly kick me out.
I remember it as Reagan bringing back the draft as part of his build up, but Carter did start most of the weapons programs Reagan later took credit for so maybe my timing was just off. The army actually didn't want the draft back, as having to train and equip that many soldiers without a huge budget increase would have really stretched them. Registration, though, was just a paperwork thing that could scare the Russians.
I had to register when I turned 18 in 1987, and thought it odd that draft registration was mandatory to get any college scholarship, but nobody cared if you registered to vote. I always figured if you don't support your country enough to cast a vote, you shouldn't be required to die for it 
In the end, it's a surprisingly pro-Army movie.
Right! I was struck by how the sergeant was even 100% in the right the whole time until he invites Murray to take a swing at him. Even then he's not really doing anything fundamentally villainous; it's just our cue that it's okay to hate him. And then he comes back at the end and is basically a hero!
It was a weird time when America was a superpower and yet might invade your country using tourist maps (Grenada, 1983).
Stripes is still one of my favorite Army comedy movies, though watching it as an adult certainly gives it a different flavor.
It is surprising, as has been noted, that it is pro-Army given the era. Also, had to fill out a Selective Service card when I turned 18, which I believe is what the draft is called. But, I have no problems with joining the military so it was, "Meh, need scholarships," type thing for me.
It also gave us one of my favorite drill scenes as well as the term "Urban Assault Vehicle" both of which are used frequently in my vocabulary.
Last edited by fireproof78 (2014-06-23 06:17:18)
So I ended up relapsing and watching The Goonies. I still have mad love for it.
Things I noticed as an adult: the score is an excellent mix of playfulness and mystery, without getting too twee.
And Sean Astin as Mikey was already a good actor at that age, and brings some serious heart to the movie.
To anyone who watched it for the first time as a kid: you know what I mean.
To anyone who watched it for the first time as an adult: sorry my peers won't shut the fuck up about it. Think of it as my generation's Star Wars.
Disclaimer: don't take that last sentence too seriously. You know what I mean, let's not do the tedious semantics thing.
Last edited by Herc (2014-06-23 20:56:54)
NON-STOP
(copy-pasted from my Letterboxd review)
"Do you have any idea how easy this was?"
A film about how easy we've made it to demonize those in positions of power, and how we almost instinctively twist even their most protective actions into aggressive ones. So basically it's telling libertarians to go fuck themselves. How can you not love that?
Aesthetically, the film is gloriously paranoid. The CGI visualization of the texts puts us in Neeson's head from the start (not to mention the gloomily blue-gray cinematography of the opening pre-plane scenes) and from there the camera drifts from passenger to passenger, casting menacing aspersions on several of them. The movie has a firm understanding of "film grammar" and it uses cinematic tools we already know to communicate Neeson's fractured state of mind. It doesn't do this through on-the-nose dialogue, either, which is refreshing; in fact, there are a couple moments where overly familiar dialogue is subverted in a way that's not too clever by half. This movie knows how to be a movie, in other words.
Wow, I think I really like this thing. Didn't see that coming.
How to Train Your Dragon 2 - The scale of this movie is fucking insane, this is easily the biggest animated film of all time, like Avatar/LOTR in size. I'm amazed there isn't more buzz around this one. Visually its absolutely stunning.
It's weird, I actually really want FIYH to do a commentary on this at some point, because it seems like it does everything that the guys always talk about them wishing movies would do, but at the same time I felt oddly disconnected and didn't enjoy it as much as the 1st one.
The movie's got like 12 different thru-lines going on at the same time, and it's super careful about establishing proper setups and payoffs for all of them. It escalates its stakes like crazy (including some pretty ballsy dark choices), it takes the story in some really unexpected directions and keeps you off-balance for the 1st half, and the climax is both unexpected but makes total sense.
The problem I think is that the movie is just overstuffed. It feels like someone combined both Empire Strikes Back and Return of the Jedi into the same movie, it introduces like 8 new characters, while building on all the existing ones, and it just starts to feel like there's WAY too much going on all at once, to where it starts to get exhausting.
Still really impressive and better than any Pixar movie since Wall-E.
The Case Against 8
This is a moving HBO doc about the Prop 8 trial, the subsequent appellate cases, and the Supreme Court case. It spends equal time on the lawyers, Boies & Olsen, and their clients, which were two California couples. The movie has a good sense of what story it's telling--it focuses tightly on these people more than broader cultural stuff--but I'm unusual in that I'd have liked more details on the legal aspects (which were fascinating). They didn't spend a lot of time on the initial Prop 8 trial because they didn't have footage of it, only written transcripts. That's a shame because the trial, particularly the Blankenhorn cross-examination, was one the more dramatic parts of the story. I enjoyed the sparing and at times creative use of talking heads. Filmmakers seemed to have pretty good access.
Rob Reiner's in it, but no Marty DiBergi jokes are made. Missed opportunity.
Last edited by Rob (2014-06-24 21:42:00)
Under the Skin (2013) - 7/10 (7.2)
Really unsettling, psychedelic and minimal thriller, not much can be said without spoiling. Scarlett Johansson is excellent in it, and the film is very much in the "art" section as far as symbolism and cinematography is concerned. If you thought "Only God Forgives" was inaccessible this is probably not for you. Mostly sexual in both over and undertones, drab, bleak.
Rambo 1-3 (1982 - 1988)
Seeing these again really shows Stallone and his abilities as an actor, aswell as the many levels to the character of John Rambo. The plot in all films are pretty bare-bones by modern standards, but the execution and editing still holds up very well. Jerry Goldsmiths music is absolutely superb. Rambo II in particular has an awesome soundtrack, both gentle and at several points kinetically majestic and driving.
Enemy 2013 - 7/10 (6.9)
Denis Villeneuve (Prisoners) most recent film. It's very different from Prisoners, much of the film is an exercise in how little you can give an audience and still create an engrossing experience. Works pretty much only on hidden layers and the obvious plot is almost nonexistant. Jake Gyllenhaal does great work as a man who finds a seemingly identical copy of himself in a movie.
Very hard to predict, great cinematography.
Idiocracy 2006 - 7/10 (6.5)
Mike Judge made this little comedy film about an average man who is frozen and thawed out in the future, a la Futurama, only to discover that the human race has become so dumb that he has become the smartest person on the planet.
Overall it feels like a small movie, but it doesn't feel cheap in most cases, other than some matte paintings and CGI which feels like it might have come from an episode of Beavies and Butthead rather than a Hollywood movie.
If you like South Park and that style of humor, this one is probably worth your time.
Last edited by TechNoir (2014-06-27 20:02:25)
Bayformers 4 - I'm utterly flabbergasted by this thing, so the best I can come up with is I liked it more than the others and was laughing pretty hard throughout.
Things that happen in this movie:
- Two giant robots fighting each-other while flying on a giant robot pterodactyl as it crashes through buildings in China
- A My-Little-Pony doll transforms into an assault rifle
- Mark Walberg uses a football as a weapon
- Stanley Tucci going crazy and freaking the fuck out
- A space prison manned by giant robotic guard dogs
- A John Milius robot that smokes a cigar and uses it as a weapon
- An extended dogfight battle that re-destroys most of Chicago
- Parade of Giant Dinosaur robots getting sucked up by a Space Magnet
+1
Bayformers 4 - I'm utterly flabbergasted by this thing, so the best I can come up with is I liked it more than the others and was laughing pretty hard throughout.
Things that happen in this movie:
- Two giant robots fighting each-other while flying on a giant robot pterodactyl as it crashes through buildings in China
- A My-Little-Pony doll transforms into an assault rifle
- Mark Walberg uses a football as a weapon
- Stanley Tucci going crazy and freaking the fuck out
- A space prison manned by giant robotic guard dogs
- A John Milius robot that smokes a cigar and uses it as a weapon
- An extended dogfight battle that re-destroys most of Chicago
- Parade of Giant Dinosaur robots getting sucked up by a Space Magnet
Can't we just have a movie of Wahlberg using his football weapon and Tucci freaking out? We could call it Football and Tucci?
Can't we just have a movie of Wahlberg using his football weapon and Tucci freaking out? We could call it Football and Tucci?
...and replace Mark Wahlberg with Donnie Wahlberg?
SNOWPIERCER:
Meh meh meh meh MEH. Seems far more interested in cool details than the larger picture. The details are almost cool enough to make up for it, though. And the ending (minus the last 2 minutes) is killer.
LIFE ITSELF:
I sobbed.
Two films that couldn't be more different:
First, the bad (not quality wise, but in terms of 'this film will screw with your head') - No Mercy
I will say nothing about it other than it's a hunting for evidence detective thriller from Korea that defies expectations and is very gripping. I can't say I will forget this one any time soon.
Then at the other end of the spectrum, the rather charming and light hearted Warm Bodies
Some of the humour hits the mark well, and Nicholas Hoult's performance is really good. It's also pretty refreshing since it's a zombie movie from their perspective (with a great voice-over) and explores an aspect not seen before either.
I also saw 2 Guns, with Denzel Washington and Mark Wahlberg which I thought was good. 
Funny and with some good action sequences, the banter between the leads is surprisingly entertaining. Who would have thought this particular pairing worked so well?
Bayformers 4 - I'm utterly flabbergasted by this thing, so the best I can come up with is I liked it more than the others and was laughing pretty hard throughout.
Age of Extinction definitely feels like it's trying to branch in a slightly different direction with a good number of its elements. It's refreshing.
bullet3 wrote:Bayformers 4 - I'm utterly flabbergasted by this thing, so the best I can come up with is I liked it more than the others and was laughing pretty hard throughout.
Age of Extinction definitely feels like it's trying to branch in a slightly different direction with a good number of its elements. It's refreshing.
I was dragged to see it (I didn't pay, don't worry, guys--friends with a theater employee so we get in free), and I was expecting it to be bad, but my God. I think it's the absolute worst movie I've ever seen; between the godawful humor and the rampant deus ex machinas and the laugh-out-loud moments that are sold as serious, the absolute weakest female character of all time, and sweet Jesus that fucking ending, just...ugh. Tucci was its only redeeming value. I remember thinking while watching it that I think I can understand, a little, what Trey felt watching Battleship and contemplating getting out of the industry. It's that bad.
See, the thing is, everything you're saying is accurate about every goddamn movie in that franchise. I would contend that the 4th one is a lot less egregious about most of that stuff (for the record, the female character in part 3 is the worst of all time, and Michael Bay has a shot in that movie where he literally compares her to a dog). I have to be the odd-man out and say that aside from the ludicrous length, this last one doesn't bother me that much and is a hell of a lot more watchable than the other 3. Still sucks, but in the sorta watchable way that Armageddon sucks.
Some recent random stuff.
Noah (2014) - 8/10 (6.3)
I might have a soft spot for Aronofsky, but this really impressed me. it takes the, in my opinion, silly subject matter and turns it into a compelling story which focuses on the human experience of the event it describes. Certain aspects are a bit underdeveloped, but the actors really seem to give it their all, the direction is focused and understated, and the score from Clint Mansell is hypnotic and thematically moody. Russell Crowe in particular seems as focused as ever and is the highlight of the film for me.
Very recommended. Not as thematically neat and tidy as some of Aronofskys other films, but it's firing on quite alot of cylinders.
Intruders (2011) - 5/10 (5.4)
Clive Owen in horror about a family terrorized by a strange presence. Sounds familiar, and it is. Not bad, but unfortunately didn't have any lasting impressions on me. I've already for gotten most of it.
Transcendence (2014) - 5/10 (6.4)
Wally Pfisters directorial debut, and a big "meh" from me. Not bad, but after an hour I looked at the clock and lamented the hour remaining of it. It's really lethargic in tempo and quite frankly emotional intensity from the case in general, and the aspect of AI and the implications of it have been dealt with in better detail before, making that aspect feel pretty stale. What's left is a standard-feeling Hollywood thriller with no bite.
Watch "Her" if you already haven't, that delves deep into the interesting aspects of AI this movie barely grazes.
Dorian Gray (2009) - 5/10 (6.3)
TV-drama-feeling movie based on the novel by Oscar Wilde. Man is nice, man gets magical portait of himself which ages instead of himself, but also shows his increasingly ugly soul.
Nicely filmed and costumes are great. Colin Firth unexpectedly has a big part and is as good as ever. The rest of it all doesn't offend, but feels a bit like a teen novel made for TV.
Mostly harmless.
High Crimes (2002) - 6/10 (6.3)
90s thriller, only made in 2002. Freeman and Ashley Judd star as lawyers trying to clear her husband of murder charges in the military.
Has some similarities to "Basic", the 2003 John McTiernan film also about a criminal investigation in the military.
Competently made, well acted, a bit twisty, and ultimately comfortably familiar to other 90s thrillers. Definitely worth checking out for fans of the genre in general.
Clue (1985) - 6/10 (7.4)
Quirky comedy based on the "Clue" boardgame, dinner guests need to solve a crime while all being potential suspects. Quite highly regarded, but as someone seeing it for the first time now, it feels a bit dated and the comedy is at times slightly stiff. Still charming, tempo picks up more and more as the movie progresses, and Tim Curry has a big role. Who doesn't like them some Tim Curry?
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