Discussion in 'Movies' started by Mel O'Drama, Sep 24, 2016.
OK, this wasn't so great...
Muriel's Wedding (yet again)
That table getting flung over (3:45 below) never fails to crease me up.
It's Ridley Scott's favourite film, don't ya know?
Latter-day Disney Princess (I'm not a princess!) movie. Genuinely emotional at times but the repeated knowing references to others in the genre took me out of it too often.
The Children Act
I did like this one! Far-fetched? Yes. Over-the-top? Sure. But so entertaining and creeepy...
I didn´t know he was gay...
I recently watched this, one of the few Bette Davis movies I hadn´t watched yet. It´s about a cellist (Bette) who lives in a boarding-house in London run by an obnoxious beech. Bette has a 20-something "protegé" she ends up falling for (and sleeping with) despite her being old enough to be her grandmother...
There´s a new tenant, played by Michael Redgrave, a professor who seems to be responsible for the suicide of a young disciple. Due to the door connecting both rooms, the relationship between Bette and Redgrave blossoms up and becomes the most memorable thing in this movie, which is perfectly played by both leads.
I say this because there is another subplot with the guy Bette has the hots for, an artistic agent-wannabe, that serves just for a few "swinging" scenes and some tit exposure. You cut all of this and have a really nice movie. Bette plays the lady with gusto and her usual perfectionism (and none of her mannerisms), which is a gift for this British movie.
PS: In the last scene, there is a theater marquee that reads: "Margot (sic) Channing in Remembrance". A nice homage to the lady who gave us so many great performances...
I don't hate it, and I really liked the scene with the flowers - so nasty! But apart from that one twist I think it's rather unoriginal and dumb.
The toddler had to help to move the body? LOL
I found the atmosphere quite unsettling and foreboding. The onscreen action never became quite as dark as it felt might be the case when going in. Which isn't necessarily a bad thing.
"US" was so utterly stupid, I could have enjoyed it in the "so bad it's good" category, except both the director and the critics want to make us believe the emperor has some brand new clothes (I foolishly went to see it based on the top rating it had). It doesn't just have plot holes--it is so nonsensical that you think the studio made it on a dare.
True Grit (1969)
I've never been a big fan of The Duke but this was his Oscar-winning role so I thought I'd give in and watch.
Still not a big fan. And if the world was fair, Kim Darby would have had top billing.
I watched Bohemian Rhapsody and then Incident in a Ghostland
I watched "Edge of Salvation" (2012) with Charlene Tilton. I found it quite good even though those experimental "big brother reality cam" angles that they used occasionally were really annoying since they brought you out of the story and made you feel like you were an observer from a safe distance rather than someone who felt what the characters felt. So it made you feel sort of detached from it all. But maybe that was the idea of it.
Julie and Julia (2009)
This was quite different from what I had expected. From the advertising I thought that the two principals were contemporaries - a kind of Odd Couple - but the parallel telling of their two stories years apart was quite effective.
Today I watched the 2009 movie "Chloe", an "intellectual thriller", so to say. The basic premise has been the starting point for one million cheap tv movies (wife hires hooker to test hub´s fidelity, but everything goes havoc), but this one is a very distinguished drama with Julianne Moore as the wife and Liam Neeson as the hub. You can´t really fail with those two. The hooker is "Mamma Mia"´s Amanda Seyfried, this time in a very provocative, challenging role.
It´s a story about those people who live in those big glass houses we everyday folks only know from the movies (I wonder who clean them? No servants at sight!). Sort of "American Beauty" meets "Fatal Attraction" meets "Carol". This elegant movie was filmed in Toronto posing as Toronto for a change, and the city looks absolutely amazing, especially at night. The couple´s (quite dumb) son is played by a pre-"Bates Motel" Max Thieriot, who looks his usual hot.
I myself took this pic of Maxie last night...
Of course, a few things might/should have been better written, mainly regarding the past of Seyfried´s character, only mentioned in a scene that was eventually deleted but now available on YouTube. The movie oozes a strange fascination that one wishes hadn´t gone into TV territory (again) in the ten last minutes. It didn´t need that, actually. But the relationship between the three main characters becomes a deep study of why wealthy people tend to end up living lousy lives...and depending on cell phones and such.
This movie must bring to Liam Neeson really sad memories because his wife Natasha Richardson died in a ski accident when he was filming it. He reprised his role though was somewhat reduced. The trailer below (the shortest one I could find) gives away too much of the plot, as usual, so if you are interested in watching this, just skip it. Also, alert of slightly lesbian images
Last night I watched another movie (this Easter weekend has been rainy in Spain...) and this time an animated one: "Ferdinand", from the "people who brought us" the Ice Age saga. It was funnier I thought it would be, maybe because I´m losing faith in 3-D animation, especially Pixar. The story was about a bull who lives on a farm with a girl and a farmer (her dad? her granddad? I already forgot it!) and has a very obviously gay personality that the plot tries to disguise as "sensitive". In the first scene, he is shown smelling and watering a flower, which is kind of (gay) lovely. Then a confusing event happens and he ends up in the place he came from, la "Casa del Toro" (I really lol´d here: "House of the Bull"), a farm for bulls raised to be taken to bull rings (and eventually killed publicly by bullfighters). The story ends well though.
I must specify that the movie, despite being American, happens in Spain, more concretely in Andalusia and then in Madrid. The character designs are caricaturesque and simple, and no realism seems to be intended, therefore the looks and action make the movie closer to Looney Tunes than to the Disney classics, which I think it´s ok. In the mid-part of the movie there is a low-point, but then it soon recovers its fast pacing. The last part, set in today´s Madrid, is shown very realistically and with attention to every detail, which is always something to thank because our country doesn´t appear in mainstream movies often, much less in animation.
Our friends arrive in Madrid, as if a group of bulls
and a goat could happily take a bus in this town...
I simply loved this part!
There was a previous version of this novel-based film as a Disney vintage short which I absolutely recommend to all cartoon fans. It was more character-based but equally funny. What amazed me of the new version the most was how there was no romantic interest at all for no character: the bulls show no interest in cows (they seem not to exist in their world...so the egg-chicken dilemma gets bigger here!), and there are only two female animal characters in this: a butch-sounding goat who pretends to be the bull´s trainer and is dubbed by *cough* Kate McKinnon *cough* (insert subtlety icon here).
SATC girls are back...and now all of them look like horses!
The other female is a mare part of a posh trio of utterly-flamboyant horses who are a bit embarrassing to watch, to be honest, because they bully the bulls (pun intended) and are probably the most unintentionally homophobic characters imagined in the XXI Millennium. They act, look and dance like an equine version of the Supremes (with touches of those beech gossip elephants from the original "Dumbo"). When they appeared, I suddenly had the impression that they had finally gone the animated route for the "Sex and the City" sequel and I was watching the three girls minus that Samantha witch...Anyway, the whole thing is fun and if you wanna see it as a big gay propaganda movie, there is nothing in the movie that contradicts that. I mean, there is even no mention to the girl´s mother as if she had been adopted by the old man...and his ex-husband?
More gay thingies: The matador prima donna, like most bullfighters, also looks quite gay, and is a real drama queen who drives a sports car. His name is "El Primero" ("the first one", big lol!) and is dubbed (also in English) by the swoonalicious Miguel Ángel Silvestre (of "Sense8" fame) who is clearly imitating the accent Antonio Banderas uses in real life. I forgot to say there is no character singing here, only the mildly dramatic, feel-good story and a good message for kids: be brave but be yourself above all. Not "find a prince and go marry him asap"...
Ferdinand, the original, the one and only.
I did like the movie, because Streep is amazing and Adams is also good. But when it comes to the actual idea behind the theme (book and movie), I agree with this Slate review:
Simultaneously adapting Julia Child’s autobiography My Life In France and Julie Powell’s blog-turned-memoir Julie & Julia, Nora Ephron’s Julie & Julia is two movies in one. That’s one more movie than it needs to be. One portrays Child’s self-discovery through cooking. The other focuses on Powell’s attempt to spend a year preparing all the recipes in Child’s co-authored 1961 breakthrough Mastering The Art Of French Cooking, a cookbook that made classic French dishes accessible to “the servantless American cook.” The first is a charming story of a woman finding a calling in a time and place when women weren’t generally thought to need callings. The second is an accidental dissection of Internet-enabled 21st-century narcissism rendered in broad strokes and easy punchlines.
Meryl Streep thoughtfully plays Child as a passionate woman with an easy laugh and an outsized personality to match her looming frame. Following her diplomat husband Paul (Stanley Tucci) on assignment to Paris, Child struggles to find an outlet for the passion not directed toward her loving marriage. She soon follows her palate to Le Cordon Bleu, where she struggles to overcome the perception that she’s merely dabbling. Ephron tells Child’s story with a lot of love and little urgency, letting small developments in the long creation of Art Of French Cooking set the pace as Streep and Tucci create an enviable vision of domestic compatibility.
Her story alternates, Godfather Part II style, with a depiction of Powell’s blog project, begun as an attempt to find a creative outlet beyond her job at the Lower Manhattan Development Corporation in the days after 9/11. Discovering that her innate charm has limits, Amy Adams plays Powell as a monstrously self-absorbed woman who—even overlooking the ruins of the World Trade Center—sees her friends’ professional success as a cosmic slight against her. Once the blog becomes her focus, she taps away happily—accompanied by You’ve Got Mail-style voiceover—as the Internet starts to pay attention to her quirks. She isn’t the sort of woman who grew up wanting to be Julia Child. She’s the sort who grew up wanting to be a Nora Ephron heroine, and Ephron’s attempts to rhyme the two stories only makes one look shallow by comparison.
Another relatively recent addition to the ranks of the Disney princesses.
The modern-day message of course is that princesses no longer need rescuing by princes.
A nice concept and it looked beautiful. But... ugh!
A.A. Milne's beautiful characters are bastardised, mid-Atlantic versions. And his poetic use of English only appears in fragments throughout that (attempt to) reference the source material. Other than that, the language is Americanised and far too contemporary for the period setting.
Childhood Christopher used Estuary glottal stops. Ewan McGregor's take on RP was a little curious. Even Pooh had an American accent, for crying out loud.
Just depressing as hell.
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