What movie did you just watch, and how was it? (expect some spoilers but try not to post any!)

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#2866623 11-Feb-2022 19:51

Celia (1989) 4/10

An Australian horror drama, set in late 1957. According to IMDB, Celia grossed $23,336 and ¥32,255 at the box office in Australia and Japan.

The DVD trailer used a section of the film where a teacher reads a version of The Hobyahs fairy tale. That was right at the beginning, so you'd think that would set the tone for the rest of the film. The Hobyahs made the occasional appearance, often in the form of a book, so they felt like more of an add-on shoved into an otherwise uninteresting story. The film itself had two main themes; communism and rabbit ownership, one of which came to an abrupt end little more than half way through the film.

The bits I enjoyed the most were what I assume to be historic video about rabbit culling and myxomatosis, which I wasn't aware had been in Australia as long as it had.

Otherwise, it was a disappointment. 6.9 on IMDB, vs 4.7 for Howard The Duck... "The mind wobbles" - Kelly Bundy.

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#2866704 11-Feb-2022 22:38

The new Spiderman; Not too bad. Less teenage angst than most Spidey outings but still waaaay too much. If all that rubbish was cut, the film would have flowed better and been a decent length.

Dune (on Apple TV, very bad streaming as I purchased the rental on the iPhone app and there is no way to then watch it on the tv app without casting it, so it was dropped and interrupted several times)

Not too bad in fact for what is quite a tricky book to make into a film I would think. It worked better if you have read the book - which I did, albeit about 30 years ago now...

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#2868010 14-Feb-2022 10:28

Don't Look Up - 5/10 (Netflix)

Maybe it's the times we're living in, but I just found this all too depressing to really enjoy. The main message (the world is almost wilfully blind to the planetary danger they are facing) is smashed over the head so many times, it loses all subtlety and just reinforces how doomed we all are here in this reality. I was expecting that the filmmakers - having come to the amazing insight that we, as a species, seem stupidly ignorant of the fate we are facing (climate change, COVID, economic disaster, pick your apocalypse) - would then try and use their allegory to try and point to some kind of solution (however, imaginary or optimistic). But they don't. This may be a complete reflection of reality - maybe there is no hope for us - but that just makes it all the more depressing. I almost shouted at the TV at the end: "That's it? You're telling me we're just screwed? I could have told you that!"

Heat - 7/10 (Netflix)

This has been sitting in my watchlist for a while, and after reading something online that listed a bunch of films inspired by Heat (including The Dark Knight), I gave it a shot. It's a pretty decent film, though I found it overlong at almost three hours and had to watch it over several nights when I started falling asleep after the first hour. It was interesting to watch with several actors starring near the peak of their fame, with others possibly on the downward slope - but overall a pretty solid cast. Al Pacino is shouty as ever (I can't decide if I like him as an actor or not - he seems almost like a caricature of himself), while Robert de Niro is reserved and quiet. Add in Jon Voight, Val Kilmer, Ashley Judd, and there are some fairly notable names there. The story is okay, but it's interesting to watch after seeing so many of the films that it apparently inspired. Possibly if I watched Heatback in the 90s it would resonate more with me, but I feel like other films have taken the tone and pacing that Michael Mann did so well, and have built on or even improved it. It's well shot, and there are a couple of stand-out scenes - de Niro and Pacino meeting in the diner over coffee, and the final chase scene - the cinematography is excellent, and the director does a great job to build the tension. But overall it kind of lacks punch. It feels like a few of the story arcs just end without really resolving, questions just hanging.

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#2868081 14-Feb-2022 11:05

No Time to Die - Really enjoyed this, as I generally do with Bond films.

Nice to see a bit of change, but also a lot of nods to the original Bond themes.

Evil Lair is great! Classic Bond.

I look forward to the next one...unless they go all silly and recast Bond as something he is not.

I'd be OK with a new 007 or other designation being the main character, but even though Daniel Craig has moved on, it still needs to be what the author wrote the character as - which is a misogynistic, alcoholic, hardened, upper-class British Military man, with a lot of hang-ups and a licence to kill.

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Lizard1977

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#2868085 14-Feb-2022 11:14

Handsomedan:

I look forward to the next one...unless they go all silly and recast Bond as something he is not.

I'd be OK with a new 007 or other designation being the main character, but even though Daniel Craig has moved on, it still needs to be what the author wrote the character as - which is a misogynistic, alcoholic, hardened, upper-class British Military man, with a lot of hang-ups and a licence to kill.

It's interesting to see the rumours swirling around the next Bond, and the betting going on in the UK over different actors' chances. Tom Hardy seems to be the current favourite but my personal choice from that list is Rege Jean-Page. I've only seen him in Bridgerton but I could totally see him as Bond - he has the right level of magnetism and charisma, and looks like he could be completely ruthless. I would be completely on board for that.

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#2868095 14-Feb-2022 11:20

Lizard1977:

Tom Hardy seems to be the current favourite but my personal choice from that list is Rege Jean-Page. I've only seen him in Bridgerton but I could totally see him as Bond - he has the right level of magnetism and charisma, and looks like he could be completely ruthless.

The 007 franchise jumped the shark long ago. Time for a new approach. Eugene Levy would be a great Bond with a comedy focus.

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#2868109 14-Feb-2022 11:43

Handsomedan:

No Time to Die - Really enjoyed this, as I generally do with Bond films.

Nice to see a bit of change, but also a lot of nods to the original Bond themes.

Evil Lair is great! Classic Bond.

I look forward to the next one...unless they go all silly and recast Bond as something he is not.

I'd be OK with a new 007 or other designation being the main character, but even though Daniel Craig has moved on, it still needs to be what the author wrote the character as - which is a misogynistic, alcoholic, hardened, upper-class British Military man, with a lot of hang-ups and a licence to kill.

Why they insist on messing about with these things I will never know. If they want to make a spy film in which the main character is something other than what Ian Fleming decided Bond was, that is absolutely fine. It just ISN'T going to be James Bond.

It would be like casting Henry Cavill as John Shaft....

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#2869946 16-Feb-2022 21:40

There's very little French sci-fi, but it tends to be good.

I really enjoyed this Netflix movie called "Bigbug"

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#2871321 19-Feb-2022 13:44

KIMI (2022) Amazon Prime - Enjoyable Modern Day Thriller (7/10)

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#2871346 19-Feb-2022 14:23

Movieman:

KIMI (2022) Amazon Prime - Enjoyable Modern Day Thriller (7/10)

@Movieman: I take it that's US-based Amazon Prime or elsewhere, as opposed to the NZ offerings? It's just that it's not showing up for me, searching by title, main actor or director.

I would usually watch most of Steven Soderbergh's films, even though there's quite some variety in quality, so would certainly give this a go if I could find it...

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#2871455 19-Feb-2022 20:20

Yes US based. Should become available here soon

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#2875446 26-Feb-2022 19:47

Kimi was a bit predictable but still an enjoyable genre flick. A solid 7/10

Watched two of Chloe Zhao's films - Eternals and Nomadland,

One was a steady 6.5, the other lofty 9

😉

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#2875826 27-Feb-2022 17:59

STILLWATER (2021) 7/10

I found it hard to like many of the characters in this film, and it took a while before it piqued my interest. It eventually got going in the second half, and revealed a pretty good drama.

An American oil-rig roughneck travels to Marseille, France, to visit his estranged daughter, in prison for a murder she claims she didn't commit. Confronted with language barriers, cultural differences and a complicated legal system, he soon builds a new life for himself as he makes it his personal mission to exonerate her.