Author Topic: Respond to the last movie you watched  (Read 684046 times)

Bondo

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Re: Respond to the last movie you watched
« Reply #5230 on: November 06, 2020, 09:50:10 PM »
Here We Are

Nearing the end of the festival but the solid picks keep coming. Here We Are is a film primarily focused on a father Aharon, and his autistic, adult son Uri. His exwife wants to put Uri in a...institution would probably be too harsh, but basically an independent living sort of group where developmentally disabled people can live free of their parents and among peers and such. Thing is, Aharon doesn't want to lose his son and his son seems averse to going. What follows is a journey for both of them as they grapple with what is best for Uri. It isn't something I have a strong view of either way because either could be best for him so I'm not sure how I feel about the ending.

It has become a bit trendy to have a high-functioning autistic type now, but portraits of more affected people on the spectrum have been a bit left out. This is one where its a bit further along the spectrum with the impact of fixations and the ability to fall into childish tantrums making it very much seem like he isn't necessarily going to hold down a normal job or be able to live truly independently. That is what makes it effective as a drama about the dad's choices. Really quite good.

Eric/E.T.

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Re: Respond to the last movie you watched
« Reply #5231 on: November 06, 2020, 11:51:26 PM »
Like Father, Like Son
KORE-EDA IS SOOOOO EFFING GOOD AT MAKING MOVIES!!!

I know I'm just at five, but all five are *MWAH*. I actually think I might get The Truth out of the way some time this weekend. Maybe I'll surprise myself and really like it. I don't know how likely that is, it doesn't sound that good.

This is just another one of his families with a Twist. He likes to take your typical family unit, mess with the pieces, and see how humans will then relate to one another. He milks the drama of humanity without ever getting hysterical, and captures the little moments. In this film, that last part is so key, as two families do what I thought was unthinkable and took their six year old boys that were switched at birth and switched them back. The whole film is about what makes an individual who they are, what makes a family what it is, and you put these two boys, and their radically different fathers, under the microscope. It's much more nuanced than any nature v. nurture argument you could get into. And, of course, the ending is so wonderfully Kore-eda. I love this man. There is a lot of feel-good in what he does, and while there is also some pretty dire conflict and death within these pictures, they generally seem to be about renewal and the resilience of people. Bonus: My dad loves his films, too. I'm always a little nervous about what to show him because he goes to sleep way earlier than I do, and is also more physically active which probably plays into his nighttime sleepiness that I wish I had, and I don't want to put him to sleep, but I've noticed he does better with foreign dramas than more action-y stuff. It's probably time I stopped underestimating him! Guy rides his bike 25 miles during the day, works at the shop, comes home and watches a relatively slow-burning Kore-eda with me. Dude's got it going right now.
A witty saying proves nothing. - Voltaire

Junior

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Re: Respond to the last movie you watched
« Reply #5232 on: November 09, 2020, 01:48:18 PM »
Possessor


Writer/director Brandon Cronenberg follows up his 2012 cult hit, Antiviral, with another body horror film in the vein of his dad's classics from the late 80s. Like those films, this one has a simple sci-fi premise that enables Cronenberg to explore a variety of areas within the current culture. This time the premise is that there exists a technology that allows people to possess others and, in the case of the company featured in this film, use them as disposable, untraceable assassins. Andrea Riseborough plays Tasya Vos, an elite possessor who is also starting to have some difficulties separating herself from her possessees.


What makes this movie stand out is different from what makes it work so well. It stands out because it uses the basic premise to explore allegories of actors and roles, alienated work, and a whole lot of uncanny (in the Freudian sense) body stuff. In fact, the movie feels like Cronenberg wrote it based off of an outline of Freud's Uncanny essay. Once I cottoned on to what was happening (the brief shot of the automaton toy in the early goings did that for me), I was able to predict a few plot and gore elements accurately. But that's cool! It's nifty that a movie engages so much with an essay that has frequently been used to talk about horror movies, and it's doubly cool when it namechecks Walter Benjamin, which ties the body horror stuff in with the alienated work aspects of the movie. This movie will be featured in college level film classes for some time to come, in other words, and that's great. It deserves it.


But all of that fun theory stuff isn't enough to make a movie worth watching. Back in Shocktober I lamented those "elevated" horror films that get too heady and forget to provide the story and scares that drive the genre. Well, Cronenberg doesn't forget those elements. The movie is really well constructed, never too slow or too fast. The gross scenes are suitably gross but don't overwhelm the characters or story. The heady ideas are there if you want to see them. The movie treats them as little inside jokes, often just straight up jokes. In other words, though this is a movie with a weird premise, a brain, and a truly extraordinary sense of style (give me all of those colored lights and trippy mind-melding scenes, please), it is also a pretty freaking solid crowd pleaser. I mean, I guess I wouldn't call the movie a happy-go-lucky romp, but I would call it a very good time at the movies if your definition of a good time involves body horror and a bit of light academic shading. And mine definitely does. It's really great.


A
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Sam the Cinema Snob

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Re: Respond to the last movie you watched
« Reply #5233 on: November 09, 2020, 02:07:09 PM »
Glad his son is entering this space as I've missed daddy Cronenberg. I'd like to hope Map to the Stars won't be his last film but if it is, good to know his son is exploring the same space/aesthetic.

That makes me curious, is there another notable father/son director duo? I know we've got Frances Ford Coppola and Sophia Coppola.

MartinTeller

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Re: Respond to the last movie you watched
« Reply #5234 on: November 09, 2020, 02:09:25 PM »
I rewatched Sign 'o' the Times for the first time in ages. Electrifying performances, but occasionally derailed by Prince's more pretentious leanings. The effort to weave in this troubled romance narrative is laughable, while the (rare) attempts at humor fall flat. Also I can't stand that stupid furry hat. But you can't find fault in the astounding musicianship and energy. Rating: Very Good (81)

1SO

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Re: Respond to the last movie you watched
« Reply #5235 on: November 09, 2020, 08:10:16 PM »
My Horror Marathon brought me two films that aren’t really Horror, and while I’ve also seen them listed as Noir, I don’t agree with that either. But they’re worth mentioning.


Jigsaw (1962)
★ ★ ★ - Very Good
If you like a murder mystery that challenges you to solve it, this is a treat. I watched it twice because that’s Mrs. 1SO’s favorite type of film, so I can vouch that the mystery plays fair and holds up to 2nd watch scrutiny. (The secret is that all the best clues are at the beginning before you know what secrets they reveal.) No gimmicky twists, just an intelligent investigation of a small amount of clues and quite a few suspect witnesses. Easily one of the best film I've seen all year.


Never Take Sweets from a Stranger (1960)
★ ★ ★ - Okay
From Hammer Films, those that have seen it place it in with 1960s other taboo breakers, Psycho and Peeping Tom. This time the subject is pedophilia as a little girl is traumatized by the elderly head of a small town’s very powerful family. As admirably restrained as can be, especially for Hammer, but still a tough subject for a thriller.
« Last Edit: November 09, 2020, 08:12:02 PM by 1SO »

Dave the Necrobumper

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Re: Respond to the last movie you watched
« Reply #5236 on: November 09, 2020, 08:44:43 PM »
'A Colt Is My Passport' (1967)

Dir.: Takashi Nomura


Super stylish Japanese noir. Like if Meville directed a crime film set in 60s Japan with a Morricone score. Lots of sharp zooms and stark images. Tarantino definitely got some inspiration from this.

8/10

Watched this the other day, really good, put my review in Noirvember thread. Thanks for putting it on my radar.

Junior

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Re: Respond to the last movie you watched
« Reply #5237 on: November 09, 2020, 10:01:57 PM »
Glad his son is entering this space as I've missed daddy Cronenberg. I'd like to hope Map to the Stars won't be his last film but if it is, good to know his son is exploring the same space/aesthetic.

That makes me curious, is there another notable father/son director duo? I know we've got Frances Ford Coppola and Sophia Coppola.


Did some poking around. Most notable ones follow:


Ivan and Jason Reitman
Hayao and Goro Miyazaki
John and Nick Cassavetes
John and Max Landis (ugh)
Melvin and Mario Van Peebles

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1SO

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Re: Respond to the last movie you watched
« Reply #5238 on: November 09, 2020, 10:20:22 PM »
That makes me curious, is there another notable father/son director duo? I know we've got Frances Ford Coppola and Sophia Coppola.
...and Roman Coppola

Carl and Rob Reiner
Anthony and Oz Perkins

I think Ridley Scott also has a son who directs.
« Last Edit: November 09, 2020, 10:41:05 PM by 1SO »

1SO

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Re: Respond to the last movie you watched
« Reply #5239 on: November 10, 2020, 10:03:55 PM »

The Trial of the Chicago 7 (2020)
"How do you overthrow or dismember, as you say, your government peacefully?"
"In this country, we do it every four years."


I recently heard Judd Apatow on a podcast explaining that his movies run long because if you like them, he wants to give you as much as possible. I see a similar problem with Aaron Sorkin directing his scripts. There’s a small part of me that wants to listen to every snappy line he’s ever written, but overwhelmingly I want to see his scripts turned into tight stories. He needs someone he respects in the editing room to talk him out of a well-written side bar.

Visually, Sorkin’s direction is about equal to an average episode of The West Wing. His big flourish is taking an important moment and intercutting different characters setting up and describing the moment. It’s something he learned on The Social Network, and the editing builds in much the same way. The characters don’t even put their own spin on what happened. They speak with one voice.

I was worried that because this was based on historical document it wouldn’t have enough Sorkin spin, but there are plenty of scenes away from the courtroom to make me happy. Being a good writer and casting the movie extremely well, this isn’t a story where you had to be there. He sets up the differences between the characters with incredible efficiency, and for a heavy and sometimes uncomfortable sit, there’s still a good amount of humor, even if I recognized a couple of bits from earlier work.

Not my favorite movie of the year, but Top 5.
RATING: ★ ★ ★ – Very Good