Last movie you watched
Honestly a very touching and personal story. I think the whole cast is magnetic and amazing. Score was a little on the nose, but its not a demerit, just something I noticed. Will probably end up in my top 10 of the year list. 4/5
Ezekiel last edited by Ezekiel
Watched Veronika Voss and rewatched The Conversation (Francis Ford Coppola) over the weekend. Both really freakin' good. I love Rainer Werner Fassbinder. Also, Batman: The Dark Knight Returns, Part 1. I've never seen a Batman movie or animation with violence so hard. The sneaky predator parts were well done too. I liked it. Took a few minutes to get used to those Batman and Commissioner Gordon voices, though.
On Friday, I watched Alita: Battle Angel.
The graphic novel is a lot better. Better story and more striking, stylish visuals. Even the action scenes have much more a sense of speed, gravity and power, despite (or because of) being still pictures.
Alita tries to band the hunter warriors together against Grewishka. Her speech makes sense in the manga, because he is going after hunter warriors. In the movie, he is after Ido and her. So what? Why should they care? He doesn’t even have a bounty. She looks like an idiot when she’s talking down to them. The horror of his origin is completely gone. He says in the movie that he comes from the underground, but we don’t really get to appreciate how awful his life was in the sewers without any of the disturbing imagery of the manga, which makes you wonder why he even tells us he is from down there in the movie.
I didn’t like the big eyes. They made her look like an alien. The filmmakers’ justification is asinine and tells me they don’t understand graphic novels. She has big eyes in the manga, they said, so she should have big eyes in the movie. When I heard them say that in their promotional YouTube video, I dragged my hands down my face, muttering “My god” at their foolishness. EVERYONE in the manga was stylized, not just Alita. That doesn’t work for one character in a photographic film. By their logic, Ido should look monstrous. The big eyes make her whole head disproportionate and strange. It’s a dumb choice that made the movie millions more expensive and definitely pushed some people away. Having said that, I wasn’t extremely distracted by the eyes. BUT, because her head is CG, her hair looks fake. It looks clumpy, heavy and doesn’t move right. There was no good reason for not using her real head whenever possible. (Impossible in some of the action scenes.) I find it funny that Hugo doesn’t realize she is a cyborg until he sees her hand. Like he is used to girls with huge eyes.
In the manga, Ido is a hunter warrior partly because he enjoys killing, which ties into the whole battle theme of the manga, the adrenaline of combat, the high, what Alita is all about. His justification in the movie is lame. He got his daughter’s killer, but he is still hunting because reasons. The bounties paying for his clinic seems secondary, from how he explains it.
The way the Berzerker body conforms to her just looks too fantastic and fake in the movie. The body regenerating instantly in the movie makes her too powerful.
I find it lame that the story revolves around her, including the motorball game that is just a ploy to kill her, whereas in the manga she was just one of the players. Hugo’s tragedy is diminished because of that as well. I find it disappointing that in the ending it feels more like he is trying to get to Zalem now because he is a fugitive. The manga focused so much on his hope for a better life, almost right to his end. I didn’t feel the desperation that was in the manga.
Why is Hugo telling her to be a motorball player? Alita always did what she did because she wanted it. In the manga, she becomes a player for her own selfish reasons. Even when Zalem forces her to work for them in the manga, she does it for her own reasons.
Did these filmmakers ever actually look at Damascus steel? I’m looking very closely and cannot see the signature ripples. Well, it’s kind of on the edges, but it looks so over-designed, like some lame Power Rangers sword. Those ripples would have been striking enough on their own. You can barely see them in this movie.
The author didn’t use that term for nothing, but the filmmakers did. Surely, the Damascus steel from the manga is not the same as ours, but the technique was very much the same and the look was intentionally identical. The blade did not need such fancy decoration. More importantly, WHY IS ALITA NOT USING DAMASCUS BLADES?
I find it lame also that she fails her first job, gets her body trashed and then becomes a motorball player. We don’t even get to see her ascent as a hunter warrior.
Motorball winners go to Zalem? Oh, please. I just don’t see that being a motivating factor for all the players. They would not all be naive dreamers like Hugo (whose dream is now less personal). They are in it for the glory and cash winnings. I just don’t understand why so many people wanna go to Zalem in the movie. The city and its beautiful countrysides don’t seem that bad in the movie. Maybe with an R rating and the dirty cyberpunk look of the manga, it would make a bit more sense. I feel like the creators didn’t understand the manga well enough. The only character I can remember right now who wanted to go to Zalem was Hugo. And about the citizens getting to frolic in the beautiful countrysides… If I remember correctly, in the manga, they are not even allowed to leave the city, unless they work on the farms or protect the cargo trains. The countryside in the manga is a wasteland with Mad Max bandits.
The movie is impatient. It tries to pack so much from later arcs in when it could have told a good self-contained story that may or may not have been expanded on with sequels (depending on if they got the greenlight). I’ve even observed people who don’t know the graphic novel concede the same thing. That it feels like it’s merely a set up for something we may never get. If the original Star Wars or Matrix did that to the extent movies do now, people would have been bothered. Alita sloppily mixes too many different stories into one whole. It’s like Cameron went, “I want motorball. I love those two volumes and I don’t care how we get it in there.” There was already plenty that could have been adapted for a movie in the first two volumes without bringing motorball and such a big focus on Desti Nova and Alita’s past in. The movie should have been about her rebirth, her rise as a hunter warrior and, finally, the death of Hugo. Those first two volumes have some spectacular fight scenes and great atmosphere. That brief fight scene with Grewishka alone is like a hundred pages long in the manga (partly because they’re not just fighting) and has a much more interesting looking underworld. You don’t need the added spectacle of motorball. Between Makaku’s (Grewishka) nightmare life and his attraction to Alita, Alita’s curiosity and passion, Ido’s double personality, and Hugo’s crimes and tragic dream, there is plenty of characterization and a good movie story in those first volumes.
This should have been a lot better. I didn’t dislike it. It’s a 6/10 for me. Maybe a 7 if I’m feeling generous. Nothing more.
SabotageTheTruth last edited by
The Art of Self-Defense
This one stealthed into my life and might actually be my favorite film of the year so far. Eisenberg does such a great job with his character arc and a simple "stand up for yourself" sort of theme gets much darker and explores more interesting territories. The writing is sharp albeit not realistic in the slightest but I'm okay with that.
Once Upon a Time in Hollywood
My least favorite Tarantino film by a mile. Don't get me wrong, that doesn't make this a bad film at all (hell, any scene with Leo or Brad Pitt was hypnotizing) but there's so many puzzling choices here. That snappy dialogue we're used to in cars? That has been replaced with just music. Margot Robbie's character basically does nothing for the entire film. Why did we suddenly get a narrator for a few lines deep into the film? What is with all the feet? This film could have been glorious with better editing but instead, it just feels meandering and tries to tie too many things together, pretty unsuccessfully I'd say. If this would have just been a Rick Dalton/Cliff Booth buddy comedy, I'd be singing its praises right now, but it's much too bloated for my tastes.
Well, I mean, the feet is obviously just Tarantino. He does this in every movie. Dude loves women's feet.
The Lion King:
Yep, it's The Lion King again. The songs are cool. The animals look more realistic this time, but are still animated. I'm glad I don't have to talk about someone else's voice coming out of Mufasa's weird 🦁 mouth. 2/5 tho.
Also, the Cats trailer on the big screen. Lol
TokyoSlim last edited by TokyoSlim
I gave this a point five higher than The Lion King, because Bautista and Kumail have actual human mouths.
Tearju Engi last edited by
been watching some movies on Netflix only to realize a part isn't even there. Not sure if it's global or just my country since we only get like 50% ish what NA gets.
Sam Raimi's Spider-Man but there was no 2 to be found while the rest of the movies were there. Same with Back to the Future. 3rd one was not there. Also they cut a bit from BttF2 where Marty repeats the Ulala word. He only said it once and cut the rest of it.
Watched Accountant and a bunch of other stuff I don't remember. Watched Assassins Creed on the plane...movie sucked.
DIPSET last edited by
Pretty common unfortunately. I've seen shows like Futurama have the full series, then go away, then come back but its the last few seasons only, then go away forever.
Netflix is high key trash tbh. As of late, I've just been torrenting what I want and stream it with Plex. Not the best solution but at least I can stream whatever I want.
DIPSET last edited by DIPSET
Once Upon A Time In Hollywood - 9/10
This was fantastic. I’m not extremely familiar with the actual actors, directors, and specific content of the serialized television programs that dominated the American networks in the 1950-1960s, but I knew the titles of a lot of them and I know about the general history surrounding this era of television. A part of my university curriculum was a two semester Broadcast History course, so I feel like all of that studying in 2014-2015 helped me appreciate this movie a lot more. Otherwise... broadcast history was a lot of information overload and general useless knowledge but I digress.
Firstly, you can taste, smell, and feel the setting of late-60s Hollywood in this movie. I think the mixture of set design, licensed music, costume design, and the constant dialogue about Hollywood really bring you into this world. The FOX TV studio felt like a workplace instead of the actual Wild West. Sounds obvious, but it did a good job of bringing you into Hollywood and not Hollywood to you. You could practically smell the smoke and dust of the trailer interiors on-set. I think this is Tarantinos best and most ‘mature’ world, where believability isn’t earned from the viewer but it’s pretty much guaranteed immediately.
Next, I love the premise of a broken man at the turning point of his life and career having a crisis in the middle of an important work day. That is something that not too many stories try. I think Decaprio really helped sell Rick’s tough day on the job but also Rick’s adaptability as a truly talented actor who should apply himself more. There was a veiled “believe in yourself” subplot here that was pretty inspiring but not as on the nose as, say, a sports movie.
Finally... FUCK THOSE DAMN DIRTY HIPPIES. I wish Tarantino wrote “Life Is Strange 2: Ep 3”. Don’t Nod... TAKE NOTES.
DIPSET last edited by DIPSET
Midsommar - 7.5/10
I'll be extremely vague because I don't want to spoil the movie. The trailer is vague so I'll keep it vague too.
If the goal of a film is to evoke emotion from the viewer, then Midsommar convincingly achieves this in a few different ways throughout. The introductory sequence is possible one of the most heart-wrenching scenes I've watched. I don't want to spoil it, but there were people in the audience crying because of some convincing acting and an excellent pace.
The overall feeling throughout is an uneasiness where the viewer feels like an outsider just as the characters do. All I will say is that you feel on-edge and feel out of place throughout the whole movie which keeps things tense and very mysterious.
The last feeling you'll have is excitement. There is a lot of shocking and grotesque imagery here and the final sequence is absolute madness.
I think Midsommar has a few tonal transitions in it. It reminds me of the movie Mandy from 2018 which goes through phases throughout the runtime. In the end, you sort of reflect on the movie as a mood-piece as opposed to a specific genre. There is heart wrenching dramatic sequences, there is comedic dialogue and even a fool character, there is classic horror with suspenseful music and tense cutting, and there is a lot of fast paced scenes. Most of this works but I feel as though my main complaint with the movie is that the pace of the camera-work, the music, and the plot all unfold perfectly to keep suspense and mystery in the first half. However, the final act plays its hand with confidence and things go bananas, but the payoff isn't as rewarding as Mandy was. The insanity of the ending is pretty entertaining to watch, but it sort of removes the element of surprise or mystery that the first 100 minutes built up.
On the surface, this is a really good horror-comedy film that in many ways pushes the genre forward. The use of audio and lack of audio in scenes was extremely notable as something more filmmakers need to tend to. The pacing was extremely rewarding making the scares worthwhile and tasteful. There are actual scary moments that come from plot context and acting as opposed to jump scares and quick cutting. For example, some scenes in this movie have dozens of people in the same costume eating in unison while staring blankly. You wouldn't think its unsettling in the script but the way it plays out makes you wonder how the main characters aren't completely terrified being anywhere near these people.
With that said, if you peel back the onion in Midsommar, there is definitely some political commentary here as well. It isn't overt, but I think this film in some ways a metaphor for far-right teachings in Europe and North America at the moment. I'm not sure if I'm reaching or not, but I'd be glad to talk more about themes and metaphors if anybody else has seen it. Regardless, this is a good movie on the surface.
IronGrey last edited by
I watched some James Bond movies, "For Your Eyes Only" with Roger Moore, "The Living Daylights" and "Licence to Kill" with Timothy Dalton. I much prefer the latter Bond actor, he seems like a cool and reliable everyday person in comparison.
sophiaedward64 last edited by
I have watched the avengers end game.
Hobbs and Shaw:
to be honest, this is a spin-off that kind of felt like a spin-off. This movie assumes you are very familiar with both of these characters.
I missed the crew and I don't particularly like how the story gets set up. (barely) But the action is solid at least.
I'm still waiting for #justiceforHan
Mirai of the future
Really beautiful movie, but I think your enjoyment will largely depend on how the themes resonate with you. I went into the movie thinking it would be about being a brother, but I think it will really land more if you're a parent. The story structure is essentially a series of fables and can get repetitive, but one of the vignettes near the end damn near made me cry. Worth a watch if you're interested. B
Early reviews of Joker are very positive. Phoenix is garnering universal acclaim.
sounds edgy lol
Tearju Engi last edited by
Once Upon A Time In Hollywood.
Ending was very Tarantinoesque. Movie could have cut an hour or more from running time.
7/10 because I liked the ending
How to Train Your Dragon: The Hidden World
Held off on watching this one for a while because my friend said it was a bit of a letdown. He's not completely wrong – neither of the sequels quite reach the height of the first movie in the trilogy. Still, the animation and music in particular are stunning, with some truly breathtaking sequences. The story is also thematically resonant, and really goes for the fences in the last act, and
the way the sequence near the end as Hiccup says goodbye to Toothless mirrors their budding friendship made me seriously well up.
Still, the movie is letdown by weak writing. It really feels like studio execs went through the script and said, "this is a kid's movie, throw in some more jokes and exposition." This trilogy spans a decade. Have some faith that your audience has grown with these characters. I'm not asking for it to become Game of Thrones or Lord of the Rings. I'm just saying let those moments flow naturally through sound character work, and trust that your audience will enjoy it all the same. I guess not everything can be as good as Avatar, though. B
TokyoSlim last edited by TokyoSlim
It Chapter 2:
All the "meta jokes" about King being criticised for not knowing how to write a good ending to a story... Like it seriously comes up maybe 9 times in this movie.
The adult losers are all great. I feel like McAvoy is maybe a bit miscast, but everyone else seems to be on point. The movie however, keeps reminding you over and over again which person is who, by reflecting the child version in glass, mirrors, superimposing the faces, having flashbacks, etc. This is about half the movie. Also, Pennywise is still a great performance.
Visual effects are outstanding though. Probably the best part of the film, as I'm effectively criticising both the writing and pacing/direction of the movie.
Bit of a letdown since I liked the first film so much.