This channel is what the Internet was made for (aside from cat videos and staged pranks). The wealth and detail of info in these vids, the animation, the music, the narrator and his redoubtable voice.
Category Archives: United States
The Exorcist (1973). Total garbage.
I desperately wished to like this because of William Friedkin and his mostly fabulous work but it wasn’t meant to be. I absolutely hated it.
It starts with this film-within-a-film narrative and the suggestion appears to be that making movies is a sin and invites possession. Or maybe I’m reading too much into it.
There were extended shots of leaves falling in this for no reason and it bothered me, like the leaves were attempted symbolism. Maybe it was an augury for bad things, like how the writing progressed. The most baffling aspect of this whole escapade was the fact you have a wee child on the verge of death in a cushty Georgetown house of a famous actress and not a single cop, nurse, social worker, doctor ventures into it aside from a chain-smoking Priest and his spiritual benefactor.
The horror? It’s not scary, just nasty. You’re merely viewing sadism, with very boring actors and a story so nonsensical there should be a Muppet waltzing in with a musical number. Lighting was terrible, framing something out of a TV show (a bad one), and the sound mixing was crushingly theatrical, but not backed up by anything visually memorable.
Horror is some poor bloke getting stabbed over an argument about football teams or having to work 37.5 hours a week in a supermarket, not this shite.
Pointless motion picture.
Anyone who thinks it is good needs their head examined.
Reds (1981).
What a tragedy this Revolution was.
A mentally unhinged cluster of psychopaths managed to hijack a state and proceed to massacre hundreds of millions beyond their own country, putting their own in Gulags. An ideology which doesn’t even acknowledge its own nonsensical dialectic should be looked at. It’s a religion for the worst.
Now that’s out of the way, let’s get to the movie.
I have a lot of time for Warren Beatty. He’s a one-man show with proper acting ability. Quite the handsome lad, I would say.
The film:
I fell asleep around the 15-minute mark. Seemed rubbish. Wikipedia informed me how it ends.
Next.
Dragged Across Concrete (2018).
What rubbish this was!
The lines weren’t delivered with any conviction at all. It’s just the writer/director shoehorning his own real-life monologues into every scene. The movie is essentially a rant.
Nice bit of attempted world building but it’s all superfluous. And lots of stoic, emotionless men sighing. Over and over and over.
Worst movie I’ve seen in quite some time.
Watch it if you enjoy shite.
John McTiernan. Someone give him a job.
The Holy Trinity (Predator, Die Hard, Red October) with the Bruce Willis gem at the centre, McTiernan redefined or perhaps created the modern action film, a wee cradle of movies with wit, imagination, state of the art pyrotechnics, and an unnerving ability for shot selection. You can’t lose that talent, despite the Odysseus-long hiatus from a camera-wielding exploit.
He’s back from Shawshank as a model ex-prisoner.
John, just get a camera, sound kit, and a few pals together and make a short your new calling card.
Superman (1978).
Why is Marlon Brando in this? I’m confused. He appears lost, like he’s doing King Lear and not a man-in-a-cape flick.
Anyway, it’s an okay movie once the boring prologue ends, and I don’t mind the rubbish special effects. They kind of add to the charm.
This is what a superhero movie can be when it doesn’t feel the requirement for daft political subtext or the shoehorning in of a fashionable theme of the day. Just tell the fucking story!
It doesn’t half drag on but it’s a good template for that kind of movie. But I’ll never watch it again.
Oppenheimer (2023). Meh.
The Trinity Test is the centrepiece, and what a magnificent, wholly cinematic build-up and pay-off it is, pure controlled mayhem in its visuals and sound.
The rest? I was bored shitless. Most vexing, and this includes seeing the bumbling Tom Conti as Albert Einstein and Gary Oldman as Harry S. Truman in two of their most cringe performances to date, was the unbearable reliance on appointment hearings and that security clearance interview, and the incessant cutting back and forth, an overlong spy-chasing vignette which I found mostly tiresome. We all know politicians are vile; there’s nothing especially innovative in showing us all over again.
I craved more spectacle as well as insight into how this deadly weapon was actually made, that and a longing for a Terrence Malick approach to the material. It was so talky but with no memorable dialogue, and I got a bit sick of it – I was genuinely disappointed. As for the eponymous protagonist, I simply found him boring, and every time the camera lingered perversely on his sunken cheekbones a sense of resigned ennui is how I would describe the atmosphere.
A stunning technical achievement though it all is, I didn’t find it particularly revelatory, and I won’t be watching it again.
It also didn’t help matters that I was sadly sat beside a large, rather whiffy individual who breathed like an asthmatic hippo, ate like a gannet, and decided to take his shoes and socks off. I had to endure this for almost three hours.
This is why I rarely go to the cinema.
Enemy at the Gates (2001).
This really was a wasted opportunity, the gift of a premise – two snipers in a dance of death amidst the backdrop of the bloodiest battle in history – compromised by a pointless romance, daft politics, dodgy accents, and a complete misunderstanding of the time and place depicted.
It would have been better to not tackle the complexity of it all and just show the antagonists facing off, with allusions to the wider ideological foes.
The first 10 mins, though. Watch those and then turn it off. Here you go:
Hannibal – blimey.
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I think I’d wander into the spurious were I to declare Hannibal the best TV show ever made, but for its sheer entertaining unpredictability, the majesty of its visuals, and the simply captivating Mads Mikkelsen, it’s up there and not quite such a ludicrous statement.
In many a show I have moaned like a wee bitch about constant switching allegiances and a deus ex machina chucked in the mix every other episode, but with Hannibal it’s like this from the off so never feels desperate. You’re living in a world of absolute loons here and it’s a perverse pleasure to be exposed to the nether regions of the human experience.
It’s as flawlessly engrossing as anything I can think of in recent years, and even the dialogue exchanges are cutting edge; I found myself googling just exactly what the fuck the characters are alluding to in their psychobabble exchanges, but it’s never pretentious in the way they do it. The show defines world-building.
What a treat.
Traffic (2000).
Watched this again after a decade-long hiatus. I didn’t like it at all, mainly because I wasn’t really paying attention. I knew something was wrong with my approach, mainly that one should actually concentrate on the potential cinematic treat instead of fiddling with an iPhone.
The documentary triumph of it stems undoubtedly from the director’s expertise behind the camera, a rarity in that the helmsman can indeed operate one. The colour schemes for the narrative strands make sense, and nothing about it feels dated at all, even if seeing Catherine Zeta-Jones in a movie is a strange experience. I genuinely forgot she was ever in films.
A message movie and an education piece which works as a thriller.
And stay off the crack.
Wanderings and ... wonderings. 