Martijn Doolaard makes the most mesmerising videos you’ll see anywhere. They shouldn’t be, but the tranquil simplicity distinguishes the content. And he’s doing something, not filming a cat with a selfie stick.
There’s a Robert Bresson quality here. An inspiration.
The brawls were okay but this was mostly a bore. The original video game spin-off from 1995 is cheesy hokum but it’s at least memorable. The characters in that pile of dirge hardly have dimensions but their one-liners make them stand out. That and you’ve got the techno soundtrack.
This was dull. And full of needless swearing which quickly tires.
Stick to the ’90s.
Nice wee proper slow-burning spy thriller here, with a magnificently creepy Ralph Fiennes cameo as the slippery PM trying to bury the dirt. It’s a movie of subtleties and you really need to pay attention to what the characters say, how they say it, and what they omit which you think they would say. Finely acted, tightly plotted, no irritating characters, well shot.
Worth a watch.
The weird behaviour of the extras and background actors in this is hilarious to watch, as is the entire movie. Cary Grant’s accent makes no sense, nor does the film. The rear projection is so bad that it can only be a Hitchcock joke. As entertainment, I enjoyed every moment of it, because it’s self-aware and self-deprecating, and most unpredictable.
I think the career of Hitch was just a case of him taking the piss out of people whilst brushing up on his film aesthetics. And that’s fine with me.
I’m sure this was about something, and that something was something other than surface sheen and pyrotechnics, but it wasn’t something that interested me in the slightest.
So I won’t be bothering with a review other than that of Kenneth Branagh’s Russian ‘accent’, which receives a 0/5 from me.
Bye for now.
A behemoth chimp with an affinity for sign language. It wouldn’t be the first time for such a revelation – Koko.
It’s quite average in a pleasing fashion compared with most of the shite you see from these Multiverse/Monsterverse/Whatever worlds. What remains is the excruciating dialogue.
A non-character/cardboard hiree offers an observation regarding a life-changing vignette and a lad (usually a lad) retorts by saying the glaringly obvious.
It goes like this:
“It’s an easy mission, a kid could do it.”
“I hate kids.”
That’s the nature of these loopy exchanges, the gems from the writing room. There is no reason for anyone to spiel stuff like this, but they still do. It’s all confusing.
Just have folk in these flicks not speak, and present them reacting all flummoxed to stomping monsters merely through facial tics.
Good stuff in it: the voice of Lance Reddick (beautiful), and a monkey fighting a lizard on an aircraft carrier was absolutely insane in its realisation.
Is that it?
Watch it for 45 mins and then have a nap.
You won’t remember this film.
Anxiety, extreme pettiness, and cascading psyches in the suffocating urban nightmare that is modern living, which is a mission at times. You really don’t know what might happen next in this show, and it has a Magnolia (1999) quality to it. The last two episodes approached the ludicrous but then I did consider the overwhelming evidence that these rivals frequently teeter on the barking mad classification, so it all sort of works.
And where would these series be without smartphones? I suppose it’s an accurate reflection of things.
Black comedy with some pathos, and it doesn’t outstay its welcome. Better than most offerings out there.
Crimson Tide (1995) is fucking amazing, and it’s not just for the extended screaming stand-off between Gene and Denzel. It’s a film about an issue, a rather big issue, yet is shot with such electricity, edited and paced as good as any action-thriller, and with a Hans Zimmer score sounding like it was composed when he was conducting an esoteric shite. Even the intermittent pop culture references, weird as they are, kind of work, a way to relieve the unbearable tension.
You have five heart attacks watching this movie.
I didn’t mind it at all, and just watched it for the daftness and the epic tunes.
I’m not going to read much into a movie about dolls. I got the the whole intention of the male/female power-dynamic/divide or whatever. It’s nothing I’ve ever thought about. Or cared to. Or ever will in this moment of time.
Never seen a Barbie or Ken doll in my life, never wanted one, and have no interest in these creations.
I’m sure there is a massive yet subtle subtext to everything in this film, but I’ll leave that to the ‘professionals’.
It was entertaining. It has made a billion. Is that how easy it is? Movie about Bagpuss next. I want to see Bagpuss on a cocaine binge that Jordan Belfort would clap at.
Meow.
And ‘Barbie Girl’, THE tune of the ’90s, made an ‘appearance’. In a way ….
There’s an interrogation at the start of this, a programmer/designer/whatever given a lecture about the use of deceased actors in contemporary movies, that CGI-pasting which seems to be the new zeitgeist. “Poor dead guy didn’t want to be in a movie.” I’d never actually considered that before, but then this film gets one thinking.
AI is terrifying; this movie was terrifying, utterly risible but scarily real. It’s Skynet from a chat room. Turn off your Wi-Fi, turn off your webcam, correspond in letters written in disappearing ink.
It’s Blade Runner (1982) and Tron (1982) territory. And with Lance Henriksen. Bishop lives.
Top film.
Wanderings and ... wonderings. 