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Posted: |
Feb 24, 2020 - 9:37 AM
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By: |
MusicMad
(Member)
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I'll Never Forget What's'isname (1967) ... 6+/10
As a teenager I found this film somewhat out there ... very much enjoying the images even if I didn't follow the dialogue. Nearly 50 years on I enjoyed, very much, seeing several lovely actresses, the swinging 60s' London setting and some glorious cinematography, especially in Cambridge.
I also enjoyed seeing Oliver Reed at the top of his game ... he was such a charismatic actor, a pleasure to watch ... even when his character was less than pleasant (indeed his character kept reminding me of a certain modern day public official!  ).
But I still can't say I followed the story fully, even if I understood the dialogue: was it as simple as a man tries to change his life only to find that he can't?. There is plenty of humour but also strong violence and a car crash scene, brilliantly filmed, is shocking ... what was that doing in a film like this?
The dream sequence and Quint's advertising film are somewhat psychedelic, carrying images which are questionnable in today's climate.
I enjoy a lot of Francis Lai's music and this score had some wonderful melodic themes but the underscore for the Cambridge romantic setting ... superbly melodic ... was so OTT that it sounded wrong. I know the album has recently had a release and I was tempted.
Mitch
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Posted: |
Feb 24, 2020 - 11:27 AM
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By: |
Bob DiMucci
(Member)
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HARLEY DAVIDSON AND THE MARLBORO MAN (1991) - 6/10
This 1991 film was set in the then-near future of 1996, which means nothing now (and meant little then) other than as a point of trivia. The forward date was used solely to explain the rise of a new mind-altering drug, "Crystal Dream," that was unknown to audiences. In the far-fetched plot, "Harley" (Mickey Rourke) and "Marlboro" (Don Johnson) are two drifters who return to their old stomping ground in Burbank, CA. In order to save a beloved rock & roll bar from foreclosure, they concoct a scheme to rob an armored car, only to find that it is not carrying cash, but drugs. The bank's president (and head drug dealer), "Chance Wilder" (Tom Sizemore) sends a Kevlar-coated, Uzi-toting death squad led by "Alexander" (Daniel Baldwin) to recover the drugs and eliminate Harley and Marlboro.
This sets in motion a series of confrontations during which thousands of rounds are fired, with few hitting their targets. In between the increasingly ludicrous gun battles, Marlboro romances a female motorcycle cop, for no other reason than to ultimately confirm his "loner" status. Otherwise, she's uninvolved in the plot.
Given the far-fetched action scenes, the film rises or falls on how much you like the characters' personalities. The leads are well cast. Rourke's Harley is taciturn and monosyllabic; Johnson's Marlboro is easy-going and relaxed. I particularly like Johnson in that style, and so I'm willing to forgive a lot of the more implausible aspects of the film, which, in truth, is not to be taken too seriously. Basil Poledouris provides a synth score for the film (played by Poledouris and Michael Boddicker), which is overshadowed in most instances by some well selected (albeit not well known) rock songs.
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Posted: |
Feb 25, 2020 - 4:26 PM
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By: |
joan hue
(Member)
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THE CALL OF THE WILD (2020) - 7/10
Bob wrote the following in his review.
This is a decent family movie that should interest people of all ages. They've given the CGI dog, "Buck," an engaging but not cloying personality. The look of the dog is taken from a digital scan of an actual dog owned by director Chris Sanders and his wife. The film has plenty of other digital effects as well: an avalanche, pristine landscapes, long shots of Alaskan mining towns, etc.
Although this is being sold as a Harrison Ford movie, Ford only becomes the "owner" of Buck about half-way through the film. Prior to that, Buck is one the dogs on the sled of a husband-wife team (Omar Sy and Cara Gee) who are delivering mail in Alaska. This first part of the film is actually more interesting than the Ford sequences.
Director Sanders (HOW TO TRAIN YOUR DRAGON) calls once again upon John Powell to provide the score. It's a fine effort, but doesn't rise to the heights (no pun intended) of HTTYD. The score has some Celtic flourishes.
I tend to agree Bob's post. I did maybe enjoy the Harrison Ford parts a bit more.
There were more digital effects than I expected. It does seem to be a family picture. You also have to suspend your sense of reality. I liked the music, but as Bob stated, it isn't quite as good as HTTYD.
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Posted: |
Feb 25, 2020 - 10:47 PM
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By: |
Xebec
(Member)
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Verotika
0/10 or 7/10 for unintentional comedy
Glenn Danzig, who has a band, but i've never heard his stuff, shat out this vanity project.
It's based on his comics. I don't know what they're like but they're unimaginably awful I imagine. That last sentence has more sense in it than Danzig's film.
The film is a three tale portmanteau of horror and eroticism, apparently. The three stories are bilge. It's unbelievably inept on all levels of production. I thought i was watching an intentional fuck-up, like someone saw The Room and wanted to make a film like that ironically. I was only slightly happier to read Danzig meant it earnestly, and just has zero talent in filmmaking. But i didn't find this so-bad-it's-good, just a sad, joyless slog.
The porn star actresses probably act better in their adult films. The actual actors aren't much better. It looks and sounds like cheap garbage. There are a couple of ok practical effects in there. There are a few moments of bad editing, mark-missing camerawork, actors missing their marks, banal dialogue and sheer awfulness that do entertain, but it's mostly just astonishing anyone bothered making it.
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Posted: |
Feb 26, 2020 - 4:57 AM
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By: |
Ado
(Member)
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THE CALL OF THE WILD (2020) - 7/10
Bob wrote the following in his review.
This is a decent family movie that should interest people of all ages. They've given the CGI dog, "Buck," an engaging but not cloying personality. The look of the dog is taken from a digital scan of an actual dog owned by director Chris Sanders and his wife. The film has plenty of other digital effects as well: an avalanche, pristine landscapes, long shots of Alaskan mining towns, etc.
Although this is being sold as a Harrison Ford movie, Ford only becomes the "owner" of Buck about half-way through the film. Prior to that, Buck is one the dogs on the sled of a husband-wife team (Omar Sy and Cara Gee) who are delivering mail in Alaska. This first part of the film is actually more interesting than the Ford sequences.
Director Sanders (HOW TO TRAIN YOUR DRAGON) calls once again upon John Powell to provide the score. It's a fine effort, but doesn't rise to the heights (no pun intended) of HTTYD. The score has some Celtic flourishes.
I tend to agree Bob's post. I did maybe enjoy the Harrison Ford parts a bit more.
There were more digital effects than I expected. It does seem to be a family picture. You also have to suspend your sense of reality. I liked the music, but as Bob stated, it isn't quite as good as HTTYD.
I agree with this, I found the film more enjoyable than the reviews would suggest, but the advertising does mislead you into thinking Ford is in the entire film. The best parts of the movie are with him. But there is an easy entertainment pleasure to this film, that is quite rare these days. There is a lack of noise and violence and technology doo dads that is refreshing. Yes, I know it has CGI in there, but it is done well, and nature wraps around the whole film well. I also agree that this is not a top notch Powell score at all, not anything approaching the Dragon scores, it is fine in the film, but nothing very special.
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Posted: |
Feb 26, 2020 - 5:19 AM
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By: |
Jim Phelps
(Member)
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Get yourself over to Wild Strawberries, Sawdust and Tinsel, and even Summer Interlude for more 1950s Bergman jewels, to name just a few off the top of my pointy little head.
Wild Strawberries - 9.5/10
Again YouTube on the train. A touching tale of an elderly doctor who has been cold and repressed in his dealings with his family whilst exuding warmth and becoming something of a legend to his patients. Deciding to drive to Malmo to pick up an honorary degree, flashbacks gradually uncover some of the disappointments that have inhibited him in his private life, but at the same time his encounters on the journey conspire to give him a second chance.
Not bad. Not bad at all.
There's Phelpsian Hope for you yet, Alto One!
In addition to the dream (nightmare) sequence being among the greatest I've ever had the privilege and joy to watch, I also love *how* the professor remembers his idyllic past (the "overacting" is imo intentional). My enjoyment was further amplified by the fact that I was fooled by Bibi's dual role, such was her superb performance(s).
Heck, even the minor character of the professor's maid was perfectly played; I thoroughly enjoyed the way she "gave him hell."
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Dorca? Weve got a few dorcas on here already!! Lol.
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That weird french L'Amant Double is on again tonight on sky thriller at 12.55
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Are there any reviews on here for ....Godzilla king of the monsters?
7 minutes in ..and i just know its gonna be soooooo shit.
Abysmal acting from everyone...
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