Baby is a terrible getaway driver who botches the getaway and gets Jon Hamm’s girlfriend killed. I was rooting for Hamm to get his revenge. fucking unprofessional.
2 Likes
So I didn’t like this movie quite as much as the second one but it’s so earnest and sincere in its straight dumb good obvious political allegory that I almost legit squeaked out a tear.
This is a movie entirely without irony. This is a movie about apes with assault rifles and it is 100%, completely, entirely without irony. The comic relief character is an idiot and he’s not even the butt of any jokes, he’s just treated with compassion and kindness.
1 Like
I liked it most out of the three almost entirely because it doesn’t try to balance itself between humans and apes too much. It’s mostly just apes doing sign language for over two hours without too much bland human anti-spice.
2 Likes
I finally watched Rogue One and it was pretty Dirty Dozen, which I dig. Could’ve done without cg Peter Cushing and Carrie Fisher though.
Yeah it’s like CARE ABOUT THESE MONKEYS GOD DAMN IT and then you do.
As someone who spends enough time selecting music before a car ride that my passengers comment on it, I enjoyed Baby Driver a lot. It really nails the feeling of picking just the right music for the right occasion. Very cool use of “Ready Let’s Go” by Boards of Canada, too. Baby understands that Geogaddi is an album for getting nervous to, late at night.
Edit: I like how the film used the opening track of the album; Baby clearly intended to listen to the whole record during his 2AM sneak-out night drive. Too bad he got interrupted before Julie and Candy.
1 Like
I got a radar for this shit. from the novella this is based on:
I got off work early today because they told me my overtime was cut late on Wednesday after I’d already banked a couple of long shifts so I went to see D U N K I R K in 7 0 M M.
It sure is a weird mix of gorgeous restraint and dire treacle!
The whole movie probably should have probably been about Tom Hardy driving his plane, frowning with his foreheard, somehow finding time to work in an accent that isn’t quite his base voice with only a handful of lines grumbled into his mask.
A key moment/visual metaphor at the end is him jerking off his plane so thanks for that Nolan, I guess. I don’t know.
Also was I really expected to think that dude might be German? I was guessing he was French way before his muteness became a point of tension, and even had I not been he is the least German looking person I have ever seen in my entire life upon this earth.
Pretty much had the exact same feelings about DUNKIRK. The Nolan brothers sure love them some goofy sentimental contrivances.
I watched Le Cercle Rouge tonight. It was rad.
1 Like
Now that I’ve seen David Leitch’s ATOMIC BLONDE I have to assume Chad Stahelski got the official nod for directing JOHN WICK because he’s the one of the two that brought “can actually construct a compelling and coherent sequence” to the table.
1 Like
I don’t mean “action sequence” I mean “any kind of sequence.”
1 Like
There are a lot of needle drops and colored lighting and striking individual shots but it never takes the time to build real atmosphere. Just cut cut cut cut. Charlize is a total void and not in a way that actually works for the movie. It’s not a “she’s an empty husk of a human being because the spy life” deal she’s just a non-presence. Some actors can play ciphers and remain compelling because their charisma dovetails with the blandness but hers does not seem to. She reminds me of Sharon Stone in The Quick and The Dead.
The camera loves her body in clothes and not in clothes and it probably crosses over a line to what some would call problematic. The camera loves Sofia Boutella’s body in clothes and not in clothes, then it loves her body in lingerie while it’s getting choked to death at length and in closeup. It’s like you’re watching a Bond movie only the second act Bond Girl had sex with a ladybond which inflects the context of the murder enough to make the grossness really pop.
The fights are not actually that good. You can tell they did some good stunts, etc. but they’re not cut well. The only good sequence is a climactic long-take deal where Charlize has either a CZ-82/83 or a Makarov and later a CZ-75 and kills a shrug with a knife. You see her and her opponents get exhausted in real time without unwisely placed cuts ruining the rhythm. They tack some car stuff to the end that isn’t that great?
A Stechkin APS is used for an important plot-related murder then people say the round dug from the body was 7.62 Tokarev what is this nonsense?!
2 Likes
I mean how they managed to make a movie where someone gets bodily thrown through a movie screen on which STALKER is being projected and not get me on board I don’t know but somehow they did it.
6 Likes
saw dunkirk. it rules.
the first five minutes are so beautiful – specially the very first scene, with the soldiers walking (then running) through desolated streets in this pretty french city, posters floating around like snow. i was hoping there would be more of that.
i thought the boat guy was a german because he has a weird, big nose and that’s how i think german people look like (also my bff who watched it next to me in the theater murmured “doesn’t he look like the singer from rammstein lmao” when he first showed up and i was like “well that makes sense”). i also thought the mute guy was a german spy all along haha
me and my german nose and overall countenance are v. offended by this post
well here’s what shrug you look just like a shrug to me personally!!!
(that’s a good thing)
D:
HARD-BOILED, 35mm. Wish fuck-ups wouldnt yuk it up when babies are in danger. Maybe theyre normal and Im the weirdo but I feel a portion of the audience didnt exactly appreciate the tone. HARD-BOILED is so sincere, fuck.
My favourite scene comes early on after Tequila confronts the triad boss Johnny Wong in broad daylight about the massacre at the tea house and the comrade whom Tequila had shot dead in the crossfire. Alan stops Tequila from going too far under the premise of protecting Johnny and then stops Johnny from killing Tequila. That’s the context for the next scene, where his informant meets Tequila who waits fishing at a peer. He catches the fish and let’s them go, saying “he’s waiting for the big one”. I appreciate the imagery, is all.
8 Likes