The way this works is that you post a review of the best film you watched this week. It doesn't have to be a new release, just any film you have seen over the last seven days that you feel is worth talking about. Here are some rules.
1. Check to see if your favourite film of last week has been posted already.
2. Please post your favourite film of last week.
3. NO TV SHOWS!
4. ALWAYS use spoiler tags. Report any comments that spoil recent / little-known films (e.g. A Quiet Place) without using the spoiler tag.
5. Comments that only contain the title of the film will be removed!
Here are some great comments from last week's thread:
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Escape From New York - I LOVE this movie, Kurt Russell is one of my favorites and its a classic John Carpenter film, can't go wrong with those two at the forefront. I would reccomend everyone watch this movie as a comparison to the big-budget action/superhero movies of today. Now, I'm as big an MCU fan as anyone, but Escape really is a shining example that getting bigger and louder doesn't make movies better. First, the look of the film. Kurt Russell's Snake Plissken is in good shape, but he's really just a guy. Russell didn't tack on 45 pounds of muscle for the role, but he conveys his characther's strength with his demeanor, and the supporting cast act around him in a way that makes obvious how respected and feared he is. Additionally, the tech the government has is simple and almost adorable compared to the hologram touchscreens that paint every wall in movies now. The sets as well are smaller and grounded and the fight scenes are shot in a very simple and organic way. The story is also straightforward. Find the President, get out of Manhattan with him alive. There is a throwaway line of dialouge about how China and Russia could use nukes to end the world if Snake doesn't get the President out, but it is contained to just that one line. The conflict feels great because it is great to the main character, not because it is great in scale. Compare Escape to modern blockbusters, and it looks dated, and slow. It feels corny at first. But just keep watching until the 25 minute mark when things start accelerating, and you won't be able to keep yourself from being drawn in for the ride.
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Film four out of six in Rohmer’s series "Six Moral Tales", My Night at Maud's is simple and subtle in direction and plot, yet the film is deep in meaning and very revealing of the character’s motivations and feelings. The film takes place mostly within the character Maud’s house where three characters discuss religion, mathematics, choice, and how all three topics may be related to each other. The location and the duration of the scene is where the title gets its name. Like most dramas, Rohmer’s film favors dialogue over action yet the film breaks usual Hollywood genre conventions by fully committing to having subtle performances and quiet exchanges of dialogue. Also unlike most Hollywood dramas, Rohmer does not try to impress the viewer, instead he opts to respect the viewer. He shows his respect towards the viewer in the same way he writes his characters: treating them the same and as intellectuals. The film is no doubt in my mind an “intellectual” film. Containing many philosophical conversations ranging from Pascal’s Wager to being sure in one’s faith in God, the film never stops to explain the material to the viewer. With this, I never found the film being too complex or showing qualities of being too over-your-head for more philistine viewers, but I feel sure that a distracted viewer will find themselves bored. Meanwhile, observant viewers will be rewarded greatly with revealing blocking and great acting highlighted by the candid gesturing of each actor unlike the performances of most Hollywood dramas. And also unlike most Hollywood dramas, a viewer can not fully understand Maud’s by reading or listening to the film; in order to truly understand the magic in Rohmer’s masterpiece, the viewer must be vigilant of each character’s actions. While watching the film, I remember myself looking to where the characters were sitting in the room or paying attention to what their body language was saying in that moment. Never throughout the film’s hour and fifty minute runtime, I found myself bored; instead, I found myself doing the opposite: carefully observing each and every scene. As the film came to a close, with an excellent ending and a question left for the viewer, I found myself coming out of my trance with the realization that My Night at Maud’s is the type of film that I never knew I wanted and that the film is the type of movie that I need to see more. Rarely do you see a film where a character argues with another character instead of arguing “at” another character. If you do not understand the distinction of arguing ‘with’ versus ‘at’ a character then I recommend this film for you with a promise that after the first few scenes, you will know exactly what I mean. 5/5
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The Maze Runner: The Death Cure - Out off all the young adult dreary pablum, I liked this one the best and I'm glad that Wes Ball was able to finish the series in his own way and building and reveling upon every single action movie cliche in the book with such unabashed glory that it all ends with a ridiculous stone monument with the names of Dylan and Wes as if to marvel at the ability to spend so much money and get away with it all. Really the plot doesn't exactly matter, it has all the trappings of modern action blockbuster cinema from magic blood, betrayals and turncoats, surprise last minute daring escapes to enigmatic resistance leaders with facial scars bearing the toll of disease of battle. But it's shot with such vim and vigor and an incredibly good eye for action over the course of a gratuitous 2 hour and thirty minute run time that Ball closes out the era of dystonia teen apocalyptic with about every single piece of eye candy and thrill he can get out of it. Patricia Clarkson gets pushed to the back seat and Aiden Gillen finally gets to be the villian he could have been in all the rest of the movies. I'm sure these characters meant something to someone since the Newt character gets a sendoff fitting for Point Break, so I'm glad they were able to get out of it what they could cause man was it a thrill watching the filmmakers keep upping the ante on what they're willing to blow up. Wes Ball is a skilled action director with a very acute sense of grand CGI set pieces and ability to keep the tension running along with the swiftness of even the best moments in the Fast and Furious franchise. I hope he gets more opportunities to do more of this stuff.
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Submitted April 16, 2018 at 12:30AM by GetFreeCash https://ift.tt/2qydWVp
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