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Funny Games (1997). This is the original which was then copied almost to a T in Haneke's American remake. At first glance this appears to be a mean and pointlessly violent movie, but then Haneke turns the tables on the viewer, forcing the viewer to take some responsibility. The acting was solid, the direction was incredible, and the message was profound. This is the one flick that Haneke formally admits to intentionally provoking the viewer, and he does so with aplomb. Ashe.
derek
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![]() Fate is my mistress, mother of the cruel abomination that is hope. |
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Legion - Not bad. Interesting effects. Might be fun to show to some bible bashers? Triangle - Started pretty slow and turned out quite alright. I like this one. Though the decision/scene to *spoiler* keep driving after the bird towards the end seemed to make little sense when the loop factor comes into play...I mean c'mon, is this happening NOT what just happened prior to the film? The bird would have been warning enough...I get it...stuck in a loop...but it just seemed like if she could change things at all as she did during the boat scenes, wouldn't she have done the post-boat stuff slightly differently? But yep, other than a few small issues a pretty good sci-fi-horror-ish effort there.
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The door opened...you got in..:rolleyes: |
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"The Daybreakers" (2009)
Plot: IMDB In the year 2019, a plague has transformed most every human into vampires. Faced with a dwindling blood supply, the fractured dominant race plots their survival; meanwhile, a researcher works with a covert band of vamps on a way to save humankind. Phantom's Review: Much to my surprise, this was actually a pretty decent film. The film had a nice look to it and the story was different. I enjoyed it. |
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Youth in Revolt.
I enjoyed it "ok", had some weirdness to it that I liked, and thought while not over the top it was humourous enough. Wonder if Cera will ever get cast as someone over high-school age though...
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The door opened...you got in..:rolleyes: |
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Asphalt Jungle (1950). This classic film noir is arguably one of the greatest for the era, if not of all time. The characters make for a great story. Each of them is human to a fault, with strengths that drive them forward and vices which bring them down. Each and every character was cast with perfection, and while each is important, Sterling Hayden and Sam Jaffe are the central characters, polemic and perfect together. The acting was top-notch, and Marilyn Monroe's pivotal yet minor role was no exception. The story was of the perfect caper gone foul, as are all good capers. The direction was simply fabulous. The camera work was compelling, with perfectly composed close-ups that more than bring these wonderful humans to life. Merci beaucoup.
derek
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![]() Fate is my mistress, mother of the cruel abomination that is hope. |
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