Rate The Last Movie You Saw

Not sure why Sydney chose this movie. She can do anything.



Re-watch. Good movie though some lost in translation.

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I’m here only on Mondays, Wednesdays & Fridays. That’s why I’m here now.

Lenny (1974)

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[ J ] - [ S ] - [ F ]

Everyone already knows TPM is back in theaters, for a limited time, to celebrate the 25th anniversary of its release. But few people have commented, apparently, on the disappointing lack of PLF support for this VFX extravaganza.
It's a bit of a disappointment because there's probably a lot of fans who might have enjoyed the opportunity to watch it in IMAX or Dolby Cinema, but for the most part those screens were saved for the box-office disappointment that is The Fall Guy.
The happy exception to this was that TPM is now the first of the original 6 SW movies to have secured a release in the exhilarating 4DX format, the one with the shaking seats, splashes of water, and gusts of air all competing for your attention.
As such, I'm happy to report that the 4DX version of the movie does not disappoint at all. On the contrary, it's one of the most sublime merging of technologies that the new format (all but unheard of in 1999) has allowed... and gives some of us the hope that the rest of the "classic" SW movies will eventually receive the 4DX treatment.
Particularly exciting in the 4DX version is, of course, the podrace sequence - which all but shakes you out of your seat... but, really, nearly every action sequence benefits considerably, and even the opening scroll suddenly feels more exciting.



Dragons are, of course, a source of never-ending fascination for animators, and for good reason.
This Spanish-Chinese collaboration, currently receiving a very small release in some U.S. cities, is the kind of movie that should really delight audiences of all ages - but is especially exciting for animation buffs.
As you can imagine, the version that's being shown in American theaters is English-dubbed, and that's just a very small quibble because the animation here is really enchanting, without going so far overboard trying to provide visual "dazzle" in the way that U.S. animation typically does.
What's left is a very solid and touching story, told eloquently, using an exquisite palette, with a marvelous protagonist and a great supporting cast.


While it would be unlikely for a generic-sounding title like this to become a critics' darling, it might nonetheless be the best (or the least terrible) of all the studio-released horror movies so far this year.
Don't get me wrong - it's just as predictable and by-the-numbers as the overwhelming majority of horror movies these days. But, given all the genre conventions and limitations, this one at least feels like it's trying to have some fun with it, which sadly couldn't be said of most of its studio-released cinematic brethren.

I saw Phoenix mention this Netflix true crime documentary in this thread. My wife and I always watch shows like 20/20 and 48 Hours so this was right up our alley. We watch so many of these that we can quickly see where they're going but that doesn't hurt our enjoyment at all. This particular story features an especially crazy person and unfortunately some not so uncommon shoddy police work in the beginning. If this is your thing then it's a good watch.

Just finished Sleuth and absolutely adored it. A movie about two people only is NOT by cup of tea, but the complexity and sarcasm-turned-demented psycho-game is an incredible thematic exploration of what hiding a murder can do to a person's emotional state. I've only seen two Mankiewicz, but this is my favorite of them.

Boy Kills World


Better than I expected. A funny, ultraviolent take on dystopian revenge thrillers, with an amazing physical performance from Skarsgard, and hilarious inner monologue provided by H. Jon Benjamin.

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amazing horror movie i loved it

Ellen Dorrit Petersen plays the character Ingrid, who has lost her sight, is bored, lonely and stays in her apartment listening to music and writing a playful book. Her thoughts on the other people that live in her apartment block play out on screen and they range from paranoid to sexually charged.

I think this film might be brilliant. It blurs the line between reality and fiction in a well used trope about a writer, but does so in such a clever way that the viewer doesn't really understand how it's all connected until about 50 minutes into the film. Well I didn't anyway.

Director Eskil Vogt (The Innocents) wrote Joachim Trier's Oslo trilogy and 'Blind' was his debut film in 2014. It deserves to be far more widely seen.

Nice to see some love for this movie...I think I liked it a little more than you did...a link to my review:

https://www.movieforums.com/reviews/1365820-lenny.html

3rd Rewatch...The 2016 Best Picture Winner seems to improve with each rewatch. And the final 20 minutes of this movie are the best final 20 minutes of any movie ever.

1st Rewatch...This gritty look at a Florida welfare motel attempts to shed a light on part of our society that we would like to think doesn't really exist; unfortunately, it sugarcoats a lot of issues and overlooks some completely. This second watch revealed this movie to be a real missed opportunity to say some important things.

Umpteenth Rewatch...My favorite Adam Sandler movie. This remake of the Gary Cooper classic Mr Deeds Goes to Town has Sandler playing the only living relative of a media billionaire, from whom Deeds has inherited 40 billion dollars. This big budget comedy suffers a bit from an overstuffed screenplay that tries to cover a little too much territory. Sandler's character is sometimes a little too good to be true, but Winona Ryder is one of Sandler's best leading ladies and Peter Gallagher is a perfect mustache-twirling comic villain. John Turturro, Jared Harris, and Conchata Ferrell also make the most of their screentime, but this is Sandler's show and he appears to be having a ball.

The Undying Monster - This 1942 suspense/horror thriller sounded interesting and I thought I had heard of it before but it wasn't the film I was thinking of. It borrows heavily (which might be too polite a term to use) from The Hound of the Baskervilles and The Wolfman. The once aristocratic Hammond family has fallen on hard times. That means they still have their ginormous and spooky old seaside mansion complete with a creaky old family retainer and two housemaids. But there's supposedly a family curse that has claimed the lives of past male heirs (I'm surprised the estate of Sir Arthur Conan Doyle never took legal action).

One night there's an unearthly howling from the secluded cliffside path near the mansion. Helga Hammond goes out in search of her brother Oliver but not without Walton the butler first warning her about the curse and reciting the actual curse that seems lifted directly from The Wolfman. Her brother and a local nurse have been attacked and his dog torn apart by an unknown wild beast.

Enter Scotland Yard who sends their two best forensic detectives. There are some interesting moments in a "dark old house" sort of vein but there are also distractions like a male lead who recites his dialogue as if he's standing at a radio microphone instead of in front of a movie camera. I also thought the ending came off a bit perfunctory mostly because it lacked a commensurate setup. This was knocked together using elements from two better films and it shows.

40/100

A one-eyed warrior escapes from his pagan captors and sets out on a journey to the Holy Land with a group of Christian Norsemen. They get lost and somehow end up in what I always assumed was North America. There's an uber-violent first act followed by five other chapters which compose a sort of Heart-of-Darkness journey. Star Mads Mikkelsen doesn't utter a single line of dialogue as the mute warrior One-Eye and there's only 120 or so lines in the entire movie. There are plenty of shots of brooding, eventually penitent individuals. Maybe too many for some people. But if you take it as a whole and sync up with what Refn is saying you'll find it an edifying enough experience.

75/100

I agree. The '72 film is a semi masterpiece with phenomenal acting by Olivier and Caine. Some of it still sticks with me after all those years.

Sleuth (1972) > Sleuth (2007)

I quite liked it too, I think there is a lot of symbolic shite in it but if you overlook that and some cruddy (stiff) acting it's a good story. The boat journey is just rubbish though, they set off from Sutherland in a relatively small and poorly equipped vessel and land in the States within a week? The combination of realism and mysticism worked for me but that was just one step too far.

The Fall Guy -

If you miss seeing Shane Black's name in the credits as much as I do, this movie provides the next best thing. Like his best work, this one has a quality whodunit plot and just the right blend of action and laughs. Ryan Gosling proves he is adept at bringing the latter two as much as he does in Black's The Nice Guys. Emily Blunt's film director and former flame isn't exactly a "trademark unwitting partner" you find in his movies, but what's important is that she and Gosling play off of each other so well that she might as well be one, not to mention maintain lots of sweet "will they or won't they" tension. You're probably tired of the Shane Black comparisons at this point, but I'll praise one more thing about this movie that reminds me why I like his work so much and that's grit. If the slick, friction-free and CGI-laden action in the typical blockbuster lately has dulled your interest in this genre, this one will restore it. From all the vehicular destruction to the opening stunt in the title to the clips of the desert sci-fi epic movie within the movie you'll wish was real, it made me realize how much large-scale action I've reacted to with passive indifference in this young century. On top of that, it's at the kind of huge, Christopher Nolan-like scale that makes seeing it in a theater ideal. There's all this and Hannah Waddingham's delightfully smug and over-confident producer and the movie star Aaron Taylor-Johnson plays, an actor I'm normally not a fan of, but I like him here for how he pokes fun at his persona.

Are there producers, directors and movie stars who work as hard as stuntpeople? Sure, but they don't have to put their lives on the line nearly as much, or take...well, I'll just say that if you suspect that there's a double meaning in the title, you may be on to something. If there's anything I didn't love about the movie, it's that it suffers a bit from what other blockbusters suffer from lately and that's bloat. The grand finale in particular, while fun, overstays its welcome. Other than that, I still encourage Shane Black fans or anyone else hungry for quality popcorn entertainment to see it in a theater while they can. Oh, and you may also have been unaware that this was based on a TV series until very recently, but I encourage you to keep watching after the end credits anyway.

Even if they had landed in Newfoundland they were still becalmed for most of their trip. You also have to explain away them not eating for so long. It's easier to just fall back on the old purgatory trope. There is a lot of talk of sin and expiation.