Movies you have seen recently

[OCBman]

2 hours ago, Dadrian said:

So I’ve somehow made it almost 42 trips around the sun without seeing “Apocalypse Now”. 

I watched it on Netflix last night. 

Here’s my review:

HOLY $H!T

HA! Great review!

It IS a stunning work, still today. Definitely in my top five all-time favorites. 

 

[RedDragon86]

2 hours ago, Dadrian said:

So I’ve somehow made it almost 42 trips around the sun without seeing “Apocalypse Now”. 

I watched it on Netflix last night. 

Here’s my review:

HOLY $H!T

Did you notice Dalva? 

[Dadrian]

9 minutes ago, RedDragon86 said:

Did you notice Dalva? 

I did, but he refrained from his “you guys sure got it easy down here” digression on this one.  

[Dadrian]

6 hours ago, Dadrian said:

So I’ve somehow made it almost 42 trips around the sun without seeing “Apocalypse Now”. 

I watched it on Netflix last night. 

Here’s my review:

HOLY $H!T

One thing I forgot to mention:

As a nice example of symmetry, when I went to bed, guess which episode of Miami Vice was due up…

Heart of Darkness!

”Nice to know there’s still a bit of poetry left in the world”. 

[OCBman]

18 hours ago, Dadrian said:

One thing I forgot to mention:

As a nice example of symmetry, when I went to bed, guess which episode of Miami Vice was due up…

Heart of Darkness!

”Nice to know there’s still a bit of poetry left in the world”. 

Viking Bikers From Hell would have been a timely episode as well.

Who can ever forget this credit:

Someone can correct me if I'm wrong, but my understanding is, John Milius provided the story and Mann was such a huge Apocalypse Now fan, so he allowed it.

 

[cageyJG]

DUNE (2021) -Anyone see it, ongoing thread anywhere? I’ve still yet to see it.

[Augusta]

11 hours ago, cageyJG said:

DUNE (2021) -Anyone see it, ongoing thread anywhere? I’ve still yet to see it.

cageyJG, let me say first, that I have NOT seen it.  But I was interested in getting a clear clean review from someone I trust, and my friend who is both a seasoned librarian, and a Woodstock-gal, saw the film and gave me her view.  She IS a Dune fan from the book series.  All my early school friends were such fans of the books, that they pretty much taught me the entire Dune saga book by book, just from their fanatic conversations with me.  I only got hooked into the first 1984 movie made with Kyle and Sting and Annis.  
(I tried watching the tv miniseries version they made several YEARS ago, and though its visuals were arguably more inspiring than the '84 film, the acting couldn't compete with 84's more experienced actors and actresses).

My librarian's review is that this 2021 film tries hard, it doesn't flop or suck.  It just isn't up to what would satisfy the majority of Dune book fans, or even the Dune movie fans.  It just isn't able to feel like the mature Dune universe.  She mentioned that when you read the books, you sense that Herbert was strongly infusing Muslim (and some religious cousins) into the society he created.  The 1984 film very lightly "hinted" at some sort of religious influence steering the way the Sisterhood dressed, maneuvered each other competitively, and were relied on for so much secret advice from the powerhouses.  So much of the Dune is that thick religion/superstition/interfering/soothsay-fear-of-power going on with its characters, and she was disappointed that the new movie didn't showcase that enough.  The 1984 film at least TRIED to showcase it more, so in her opinion, the original, very-imperfect 1984 version is still as close to Herbert's Dune as Hollywood has gotten so far.  
You should have heard her over the phone, groaning like she was in pain, trying to be sympathetic, but clearly disappointed.  She was holding a hope that this 2021 version would be a more Herbert-style version, but no.  You can enjoy it as a fun flick, but only if you're not an avid Dune alumni. 
She suggested the French Dispatch as the one movie this year that will not let you down.

 

Edited December 2, 2021 by Augusta

[Eillio Martin Imbasciati]

I plan on viewing "King Richard" with the guy who's phone I found (yeah, find a phone, make a buddy: sounds like me) at the Racetrack Rd. Cinemark, but we haven't quite gotten to that yet.

Too bad about "Dune" though: I think the 1984 film is good enough (I recorded it in 2012), but maybe someday there will be a more complete experience.

Speaking of 1984, I'd like to see the full version of "Once Upon a Time in America", but I heard the necessary footage is kinda lost. Too bad, I think.

[cageyJG]

Thanks so much for sharing your thoughts in detail. I saw the dune miniseries and actually taped it off TV way back when for a rainy day. I thought it would make good background viewing I guess, and I always liked sci-fi, so I thought I would give it a try. While I was hooked. There is so much intrigue and the plot, and these politicians were doing their damnedest to do rotten things to other people in their avarice for control of the spice lol. Hearing Denis Villeneuve (B.R. 2049) was involved got me quite excited as my desire to see it is mood and atmosphere almost more than story. I will still try and see it in the cinema but ‘4DX’ is probably no longer going to happen.

[jpaul1]

been watching Dune 84 for the 1st time. A great movie

[ViceFanMan]

I’m sorry if I offend all the fantasy & sci-fi fans (some of those movies are okay)...but I’m so sick of all the ‘gazillion’, billion, million superhero movies—I’m superhero-ed out!!  Therefore, I was so excited to go to Nightmare Alley last night...I’ve been looking forward to it for months. Finally, a “real” movie with “real” characters, about real-life.

It was immensely superb!!  In my opinion, it’s the best movie of the year. It is a remake of the 1947 film, starring Tyrone Power—which I also love & have (both based off the novel by William Lindsay Gresham). But, as much as I love classic or old films, this is one case where I actually think this new movie is superior...and from what I’ve read online, more faithful to the novel. 

The characters are realistic, captivating, and in-depth, and you find yourself drawn in almost immediately. Cate Blanchette is downright diabolical...yet you can’t wait to find out what she’ll do next! The plot is “dark”, tragic, even disturbing (most noir/noir thrillers are), yet it’s fascinating and alluring. The visuals (sets, colors, vehicles, the vintage effects & things used, etc...) are off-the-charts amazing & fantastical!!  

I really hate it that it was released the same weekend as the newest gazillionth Spider-Man movie, though...as I know that of course will blow everything else this weekend out of the proverbial water.  I wish Nightmare Alley could’ve been released at a different time, and I think it would have been better for its opening weekend. I don’t know what the figures/numbers are yet, but I’m hoping in time it will get better and more. 

So, even if you’ve seen and/or love the original film...I strongly suggest you go see this new movie...I might actually go see it in the theater again! Definitely one of the best films I’ve seen in a LONG time!  

Theatrical poster for the 2021 film

One of the theatrical posters for the 1947 film, and used for the Criterion Collection Special Edition Blu-ray

Edited December 19, 2021 by ViceFanMan

[Vicefan7777]

6 hours ago, ViceFanMan said:

I’m sorry if I offend all the fantasy & sci-fi fans (some of those movies are okay)...but I’m so sick of all the ‘gazillion’, billion, million superhero movies—I’m superhero-ed out!!  Therefore, I was so excited to go to Nightmare Alley last night...I’ve been looking forward to it for months. Finally, a “real” movie with “real” characters, about real-life.

It was immensely superb!!  In my opinion, it’s the best movie of the year. It is a remake of the 1947 film, starring Tyrone Power—which I also love & have (both based off the novel by William Lindsay Gresham). But, as much as I love classic or old films, this is one case where I actually think this new movie is superior...and from what I’ve read online, more faithful to the novel. 

The characters are realistic, captivating, and in-depth, and you find yourself drawn in almost immediately. Cate Blanchette is downright diabolical...yet you can’t wait to find out what she’ll do next! The plot is “dark”, tragic, even disturbing (most noir/noir thrillers are), yet it’s fascinating and alluring. The visuals (sets, colors, vehicles, the vintage effects & things used, etc...) are off-the-charts amazing & fantastical!!  

I really hate it that it was released the same weekend as the newest gazillionth Spider-Man movie, though...as I know that of course will blow everything else this weekend out of the proverbial water.  I wish Nightmare Alley could’ve been released at a different time, and I think it would have been better for its opening weekend. I don’t know what the figures/numbers are yet, but I’m hoping in time it will get better and more. 

So, even if you’ve seen and/or love the original film...I strongly suggest you go see this new movie...I might actually go see it in the theater again! Definitely one of the best films I’ve seen in a LONG time!  

Theatrical poster for the 2021 film

One of the theatrical posters for the 1947 film, and used for the Criterion Collection Special Edition Blu-ray

Your review has me curious.  I enjoy discovering old classics I have never seen.  Now I have to look up and watch the original film.  Thanks for peaking my interest. 

[ViceFanMan]

7 minutes ago, Vicefan7777 said:

Your review has me curious.  I enjoy discovering old classics I have never seen.  Now I have to look up and watch the original film.  Thanks for peaking my interest. 

I always love discovering and acquiring old classics! I’m not into the whole streaming thing as much...I like & want my own physical copy! My suggestion is the Criterion Collection DVD or Blu-ray of the original 1947 film (the last pic I posted with my original post)...I have the Blu-ray, and it’s superb! But, you might be able to find the 47 movie online somewhere. Like this new 2021 film, the cast of the original is powerhouse & give outstanding performances! 

[Augusta]

There's always..... 

Metropolis.  

It's so famous around the world, that so many viewers feel they have seen it before.  It IS a silent movie, but only because the director made it at a time when we had no sound technology for our films yet.  So, as a silent movie, automatically many people will refuse to watch it,...and that's a real shame with THIS film in particular, and maybe I can explain why.

Fritz Lang is a SHOCKINGLY forceful director with camera and actor-fierceness as his tools.  He got the performers in this film to portray things to the audience WITHOUT the usual over-the-top facial muggings and herky body gestures that were necessary in most films that had no sound.  LOL, so much so, that when he includes herky-jerky silent movie motions for this ONE event where it was unavoidable, it stands out as weird to your eyeballs.  Let's face it, without your voice (and using just bland text on the screen showing your dialogue), you HAVE to gesticulate to get the audience to understand your state of mind.  In Dances with Wolves, Kevin Costner can sit on a rock silently and we know what he's thinking because we can hear campfire crackling and a horse shuffling and a little rain pelting, and we feel his loneliness.
You can't have someone just "sit" at a window in a silent movie and express what he feels without text or obvious-music-tone, or body movement.  
Yet, Fritz DOES what can't be done.  He directs that movie as if it is a 1990 film that was meant to get a sound dialogue!  Two characters talk to each other, and you barely get some text to handle one-third of what was clearly a long back and forth discussion.  A wealthy corporation owner sits staring out a window for 45 seconds...but you don't know the depth of what he's thinking, since Fritz just doesn't allow him a music queue or let him make a single hand motion at all.  You feel like you're watching an old B&W movie with a quiet moment in it---not a silent movie made before audio ever existed.  It's enigmatic.  Because you can't be sure if it's deliberate, or just lost bits of film track.

To add to that enigma, there gradually comes some weird history:  Lots of efforts at different times were made to "restore" this film  So it's out on various DVD clean-up, and BluRay HD oobah-yaayah sets.  So many versions, once you find a version that's supposedly the most faithful restoration, you're stuck with a box design or sleeve gimmick you just don't like.  And then just when historians think they had produced the finest restoration ever... some guy in South American discovers a copy with even MORE lost material and components from the film.  So the "restoration" gets done AGAIN.  Finding the exact DVD/BluRay of this "final, absolute for-sure?" version isn't too hard--just ask the seller if this copy is "from the famed Argentinian discovery print".  
  

You've experienced the story before (if not in a film, then in yours or your parents' real lives):  The corporation's Human Resources department has sharpened efficiency to a high level of profit, but stands to lose some profit if anyone successfully petitions fairer treatment for its immense sweat-back worker population (which callously has been kept in lower-than-gutter living conditions "because that's where they must be, to best serve production").  It's a story that makes your parents shed a tear, because if they ever worked in a drudgery job to support you, they LIVED that story.  Today in modern America, the story is recurring every time an employee wants to "work from home" like in a true 21st century world, but the employer really wants employee to continue to trudge to the office, so the employer can keep his eye on maximizing  his company profits. 
Unlike Fritz's usual films, no one is a true villain in Metropolis---a wealthy CEO, a hidden naive girl, the CEO's blindingly intellectual research administrator, the HR department chief, even the CEO's out-of-touch (even still-in-college fashioned and groomed) son, are all well-minded...they just keep missing the stop signs on the road they are choosing.  Fritz says he didn't like the story, and I agree with him that the moral at the end is an immature belief on the subject of employer/employee.  

A silent movie is a silent movie, right?  No matter how much restoration you do, it's still just a film where you listen to a lackluster-recorded music soundtrack, and wait for text-screens to tell you what characters are going through.  So is some 'Argentina-restoration" project really worth all the effort for just a silent movie?
YES, this time.

This version finally lifts you, and Fritz, and the whole story off the table, and leaves the "silent movie" component behind.  You notice it most when you reach that part I mentioned before, where the wealthy corporate owner is sitting at the window in this new Argentinian print. 
This time his face is so calm, so non-Buster Keaton in his make-up, that he BECOMES a contemporary actor like a Kevin Costner for 45 seconds at a window,... and you KNOW the depth of what this guy is thinking.  He has a huge city at his entire command, and to preserve the wellbeing of its citizens, he has to burden finding some way of assassinating a union leader, to prevent an uprising.  You KNOW this because of the way both Fritz's handling of the angle AND the etched refinement of the restoration print, make him look: as settled as a modern-day actor who has sound guys ready to record him but needs no sound or movement to help you read him.  I've never seen that effect in a silent movie.  The whole film in its restored "Argentina" print blows me away.  It has stopped being a silent film, and is just a film now.  I suspect maybe that's what Fritz had always filmed it as--but the old versions of the presentation just never let us see his full effect. 

I do have personal gripes with the female casting here.  The actress has eyes that are disturbingly homely, which is a shame because Fritz uses much of his camera magic in full-frontals of her face.  Those eyes of hers do not make it a nice experience.  Also, perhaps the morality boards of that era threatened the producers their about putting too much female sexual allure in their production, and I imagine that's why the female-infiltrator/machine's "mesmerizing-gyration seduction" of the workers ends up looking like a Buster Keaton comedy.  (If you made 'em look too alluring in those days, your entire movie studio could wind up in jail!).  But apart from my visual issue with Bridgette Helm, she and the gang are solid in their roles.  And like I said, you'd swear it's NOT a silent film, and that any minute now the engineer will fix the glitch in the audio track.  
Argentina, kudos!

Edited December 21, 2021 by Augusta

[Vicefan7777]

7 hours ago, Augusta said:

There's always..... 

Metropolis.  

It's so famous around the world, that so many viewers feel they have seen it before.  It IS a silent movie, but only because the director made it at a time when we had no sound technology for our films yet.  So, as a silent movie, automatically many people will refuse to watch it,...and that's a real shame with THIS film in particular, and maybe I can explain why.

Fritz Lang is a SHOCKINGLY forceful director with camera and actor-fierceness as his tools.  He got the performers in this film to portray things to the audience WITHOUT the usual over-the-top facial muggings and herky body gestures that were necessary in most films that had no sound.  LOL, so much so, that when he includes herky-jerky silent movie motions for this ONE event where it was unavoidable, it stands out as weird to your eyeballs.  Let's face it, without your voice (and using just bland text on the screen showing your dialogue), you HAVE to gesticulate to get the audience to understand your state of mind.  In Dances with Wolves, Kevin Costner can sit on a rock silently and we know what he's thinking because we can hear campfire crackling and a horse shuffling and a little rain pelting, and we feel his loneliness.
You can't have someone just "sit" at a window in a silent movie and express what he feels without text or obvious-music-tone, or body movement.  
Yet, Fritz DOES what can't be done.  He directs that movie as if it is a 1990 film that was meant to get a sound dialogue!  Two characters talk to each other, and you barely get some text to handle one-third of what was clearly a long back and forth discussion.  A wealthy corporation owner sits staring out a window for 45 seconds...but you don't know the depth of what he's thinking, since Fritz just doesn't allow him a music queue or make a single hand motion at all.  You feel like you're watching an old B&W movie that simply lost its audio track---not a silent movie made before audio ever existed.  It's enigmatic.  Because you can't be sure if it's deliberate, or just lost bits of film track.

To add to that enigma comes some weird then history:  Lots of efforts at different times were made to "restore" this film  So it's out on various DVD clean-up, and BluRay HD oobah-yaayah sets.  You find a version that's supposedly the most faithful restoration, and you're stuck with a box design or poster gimmick you just don't like.  And just when historians thought they had produced the finest restoration ever... some guy in South American discovered a copy with even MORE lost material and components from the film.  So the "restoration" was done AGAIN.  Finding the exact DVD/BluRay of this "final, absolute for-sure?" version isn't too hard, as long ask the seller if this copy is "from the famed Argentinian discovery print".  
  

You've experienced the story before (if not in a film, then in yours or your parents' real lives):  The corporation's Human Resources department has sharpened efficiency to a high level of profit, but stands to lose some profit if anyone successfully petitions fairer treatment for its immense sweat-back worker population (which callously has been kept in lower-than-gutter living conditions "because that's where they must be, to best serve production").  It's a story that makes your parents shed a tear, because if they ever worked in a drudgery job to support you, they LIVED that story.  Today in modern America, the story is recurring every time an employee wants to "work from home" like in a true 21st century world, but the employer really wants employee to continue to trudge to the office, so the employer can keep his eye on maximizing  his company profits. 
Unlike Fritz's usual films, no one is a true villain in Metropolis---a wealthy CEO, a hidden naive girl, the CEO's blindingly intellectual research administrator, the HR department chief, even the CEO's out-of-touch (even still-in-college fashioned and groomed) son, are all well-minded...they just keep missing the stop signs on the road they are choosing.  Fritz says he didn't like the story, and I agree with him that the moral at the end is an immature belief on the subject of employer/employee.  

A silent movie is a silent movie, right?  No matter how much restoration you do, it's still just a film where you listen to a lackluster-recorded music soundtrack, and wait for text-screens to tell you what characters are going through.  So is some 'Argentina-restoration" project really worth all the effort for just a silent movie?
YES, this time.

This version finally lifts you, and Fritz, and the whole story off the table, and leaves the "silent movie" component behind.  You notice it most when you reach that part I mentioned before, where the wealthy corporate owner is sitting at the window in this new Argentinian print. 
This time his face is so calm, so non-Buster Keaton in his make-up, that he BECOMES a contemporary actor like a Kevin Costner for 45 seconds at a window,... and you KNOW the depth of what this guy is thinking.  He has a huge city at his entire command, and to preserve the wellbeing of its citizens, he has to burden finding some way of assassinating a union leader, to prevent an uprising.  You KNOW this because of the way both Fritz's handling of the angle AND the etched refinement of the restoration print, make him look: as settled as a modern-day actor who has sound guys ready to record him but needs no sound or movement to help you read him.  I've never seen that effect in a silent movie.  The whole film in its restored "Argentina" print blows me away.  It has stopped being a silent film, and is just a film now.  I suspect maybe that's what Fritz had always filmed it as--but the old versions of the presentation just never let us see his full effect. 

I do have personal gripes with the female casting here.  The actress has eyes that are disturbingly homely, which is a shame because Fritz uses much of his camera magic in full-frontals of her face.  Those eyes of hers do not make it a nice experience.  Also, perhaps the morality boards of that era threatened the producers their about putting too much female sexual allure in their production, and I imagine that's why the female-infiltrator/machine's "mesmerizing-gyration seduction" of the workers ends up looking like a Buster Keaton comedy.  (If you made 'em look too alluring in those days, your entire movie studio could wind up in jail!).  But apart from my visual issue with Bridgette Helm, she and the gang are solid in their roles.  And like I said, you'd swear it's NOT a silent film, and that any minute now the engineer will fix the glitch in the audio track.  
Argentina, kudos!

I have seen the final restored version and in my opinion it is a masterpiece of film.  The story it tells is brilliant.  For the time it was made the special effects are outstanding.  For film lovers this is total viewing pleasure.  You picked a great film Augusta!

[Augusta]

To the reverse about the subject of restoration, there's another one I love too.

Rollerball.  The original movie from 1976.  NOT any of the new remakes--they are franchise rubbish!  Norman Jewison's original is the only one that deserves respect.  It also deserves an intelligent restoration too.  The DVD versions try too hard to make the sound "sci-fi".  I have an old laser video disc of it that delivers the subdued ominous quiet that I feel the producers originally intended.

But I didn't get to see this movie when it first came into theaters.  I was a poor kid, being raised by my mom on her own, and she was very committed to NOT letting me see movies that were full of violence.  And that's what all the kids were saying was so cool about this movie.  They loved the shoving, punching, spikes on gloves, bodies on the track---we all figured that's what the Rollerball movie was about.
We were kids, and we didn't know there was a message trying to be conveyed in the movie.
Every time I re-watch it as a grownup, I think I finally get the whole meaning that's disguised by the violent matches they are playing.
If we today, are getting closer and closer to any particular sci-fi world shown in movies from The Matrix to Star Trek, it's Rollerball that we are very close to becoming in the next, say 20 years tops.
It's not important in your technological daily life to know HOW your cell phone works, or how your Amazon orders get processed, or how you can rent a car waiting for you on the street corner through an app on your phone.  But it is important to know WHY these things work the way they do.  Who pays whom to fulfill your Amazon order for you?  Who, working where, provides the cranberry muffin that's waiting for you in the lunch wagon at 5am each morning?  Why is it that 5lb bag of sugar now a 4 lb bag for the same price, and who decided they could get away with that?  Why are we charged for bags at the supermarket when we've already paid for them as part of the overhead markup in the groceries?

...Face it, we don't have much interest in finding the answers to questions like that---we mostly just let it happen, while we keep smiling at the entertaining images and texts on our cell phones and whatnot.

Rollerball is saying that, if you don't stay interested in the why and who going on around you, the "who" will eventually exercise the ability to change anything in your life that benefits them, and you won't be able to know WHO did that, or have any way of stopping it anymore.

There's a comical thread running through one character in the story, where arrangements were carried out to move him to a new house, and to take his wife away (rumor is that some influential person had a yen to own the guy's wife, so what the influential person wanted, was carried out....)  Why should the guy who's losing his wife complain, right?  They gave him a strange new chic as a consolation piece--so shut up and don't ask why this was done.  Just live with it.
But that's not really comical---it's danged shocking and intolerable, if that happened to me and my wife, and no one gives me any explanation, and just expects me to go along with it and enjoy the rest of my life.

In Rollerball, the population is given food, housing, electricity, etc.  They don't really know who and how that stuff is provided to them anymore, and as long as they are kept distracted by entertainment like that super-popular sport, they don't bother to ask anymore.  They stopped asking a long time ago, and now it's impossible to try asking.

Kind of like us and our cell phones... As long as we are kept distracted and entertained on little screens, we're not going to get around to asking how or why things operate the way they do anymore.  It's been happening that way with YOU and your family for a while now, right?
Interesting little movie, but I think they filmed the sport matches so well, that the matches are all that sank into the audience, and not the message of the story.  Way too deep a message for the 70's general mindset.  Definitely a movie for the techno era of 2020's.
You better get on Jonathan's side, fast.

Edited December 21, 2021 by Augusta

[Ferrariman]

46 minutes ago, Augusta said:

To the reverse about the subject of restoration, there's another one I love too.

Rollerball.  The original movie from 1976.  NOT any of the new remakes--they are franchise rubbish!  Norman Jewison's original is the only one that deserves respect.  
 

I was fortunate enough to see it in a theater.   Excellent movie!

[jpaul1]

i love Rollerball a lot

[Augusta]

I tried to watch that LLCoolJ remake, and just couldn't stand it.

I watched just a little, and that was enough for me to want to call it rubbish.  You can't have intelligence in this story, if you don't have the unexplained power-play between the player and the corporation guy.  The mystery of why they are pressuring him so much and not giving him any answers is what justified the game getting rougher and finally too lethal for anyone to survive the matches.  

I guess it's not the first time a Hollywood remake chucked the "idea" out of a science fiction, and figured they could make money just from the special effects and pew-pew laser beams.

Seeing it in the theater must have been great.  That last match that ran only a minute or so before every player was turned into wreckage.  The movie made a last dance between three guys feel like anxiousness-overload!  Powerful "ending".  Scary, threatening ending, from a grown-up's mindset.  

 

[RedDragon86]

Lethal Weapon 4  I love the 1-3 films but this is terrible, there actually is no plot just ridiculous action scenes and endless bad jokes for 1 hr, then there is something explained at they end about the Chinese 4 war lords in a money exchange.

 

Edited December 21, 2021 by RedDragon86

[Ferrariman]

Maybe we should change the title of this topic to "Bad Movies We've Seen Lately" 

[Tom]

vor 26 Minuten schrieb Ferrariman:

Maybe we should change the title of this topic to "Bad Movies We've Seen Lately" 

or "Movies that we´ve seen recently that were so ´good´ we don´t even remember them"

I saw a lot of movies this year, but the only one I really remember (because it was good or somehow sticks out from others) was "The Mauretanian" with Jodie Foster based on a true story.

[Kladdagh]

17 hours ago, RedDragon86 said:

Lethal Weapon 4  I love the 1-3 films but this is terrible, there actually is no plot just ridiculous action scenes and endless bad jokes for 1 hr, then there is something explained at they end about the Chinese 4 war lords in a money exchange.

 

Agreed ... LW4 was with racist jokes about the chineses too if I remember .... the chemistry between Riggs & Murthaugh were gone ... Nothing can beat the first movie 

[RedDragon86]

"The Wailing"

Possibly the greatest horror film of all time, a dark and bone-chilling masterful horror by Korean director Na Hong Jin.

"The Wailing" is better, different and stranger than most exorcist horror films and once you have fully understand the mystery in detail you will like it even more.

5/5, a masterpiece. 

[OCBman]

26 minutes ago, RedDragon86 said:

"The Wailing"

Possibly the greatest horror film of all time, a dark and bone-chilling masterful horror by Korean director Na Hong Jin.

"The Wailing" is better, different and stranger than most exorcist horror films and once you have fully understand the mystery in detail you will like it even more.

5/5, a masterpiece. 

Love this movie. Highly recommended.