We are lucky (?) enough to be alive during a time where two new Star Wars movies have come out within six months of each other. It goes without saying that not everyone has watched Solo yet but not everyone has watched The Last Jedi either. Please do not be that person who spoils either movie for someone else.
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, Avengers: Infinity War) 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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L.A. Confidential (1997) - Dir. Curtis Hanson: L.A. Confidential has most of the stuff that you would expect from a typical noir detective story. It has a very intricate plot with twist and turns, a love interest that is involved with the case etc. But it isn’t the plot itself that makes this movie so good, outside of the period setting and lovely music, it is the character contrasts between mainly Russel Crowe’s Bud White and Guy Pearce’s Ed Exley that takes the main center as the driving force of this movie. To simplify it, it’s basically a movie about good cop vs bad cop, but it’s not as black and white as it sounds, and the distinction only becomes more and more grey the more into the story that we go.Kevin space’s Jack Vincennes, despite how weird that it felt to watch the first 10 minutes, is played brilliantly as expected and offers another contrast to the characters of Bud and Ed, almost an in between. Unlike Bud and Ed, Jack doesn’t have a strong sense of character, in that he doesn’t steer in one and another, in any other case this might be good, but in this case, it shows a lack of care and conviction. The scene where he answers: “I don’t know” to the question: “Why did you become a cop”, is very telling of his character. The brilliant thing about L.A. Confidential isn’t that it convinced me that any of the “ways” are right or wrong, but that it made me understand them, and made a solid case that they all have their place in the world, despite how illegal or immoral it may seem from the outside. The weird thing is that it's filled with a bunch of cliché’s, half the stuff, especially that has to do with Crowe’s character you could see coming a mile away, but they never feel contrived because they all served the purpose of driving the characters forward. Pair it together with wonderful camera movements, great acting, wonderful setting and soundtrack and pacing that never felt off, it’s no wonder why this film is so highly acclaimed. 9/10
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I Kill Giants is like the definition of a cool concept that gets mislead down other pathways to tell a much different story than the one you want to see. I really enjoyed some of the main story even though the hook was pretty much predictable from ten miles away, the journey getting there was really good. I even got emotional during some parts, mostly during the encounters between Barbara and Mrs. Molle, as well as the scene where Karen tries talking to Barbara to penetrate the veneer of fantasy that she's built around her. It was in someways reminding me of The Shipping News and Ondine, mostly cause the settings were similar in someways and the latter also involved some sort of mystical fairy-tale folklore element that turned out to have a simpler real world explanation. HOWEVER, and that's a big however, the parts where Barbara does encounter the fairy-tale element of her world is so cool that you kind of do wish it were real on some level for her and the worlds around her, like it felt like when it added that Spielbergian element of adventure you can feel the movie taking off, but then it comes back down. I understand that the whole thing is a parable about copping with the loss of a loved one, but god damn the Harbingers were so cool and then she got out the hammer and that was friggin awesome and then they fight a titan and that was awesome too. I get the sense if I watched A Monster Calls I would be in for the same kind of story.
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I saw the very well reviewed The Rider. It was most interesting to me as a sociological 'slice of life' exploring what I presume is 'small time' rodeo in South Dakota. But I feel like the filmmaker's failed to raise more interesting questions then get clearly dramatized, which would involve how young men already existing on the razor's edge of economic catastrophe can only find self-worth by an activity that risks destroying the only thing our society expects of them (bodies to perform physical toil for low wages). But this is more suggested than clarified. Like how do these guys pay their hospital bills? As for the aspects of horse training and rodeo - I have to say I had issues with all this I have not seen mentioned elsewhere. As much as the main character is said to 'love' horses, I actually find there to be a big difference in training horses to be ridden vs. the 'sport' of rodeo. There is a big element of outright antagonism in rodeo (man vs. horse) where in 'good' horse training there is more of coming to an 'agreement' and making the horse understand what you're trying to do (so man WITH horse). So because of that - I just could never fully 'get' with the agenda of this film as being about a guy who 'loves' horses. I think the 'loving horses' part kind of interferes with the less sentimental 'story' of how this guy needs horses to define his own self-worth. Its not that this is not 'there' in the film but I think its not as well clarified as it could be.
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Submitted May 28, 2018 at 12:31AM by GetFreeCash https://ift.tt/2JdMqYI
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