last movie you watched

[Greystoke]

Tonight I waded through the original Amityville Horror film tonight from 1979. "Waded" being the key word. I found it hard work - surprisingly long-winded, and rather heavy-handed in its character arcs. I'm not a fan of Ryan Reynolds, but have to say I found the 2005 remake with him considerably more entertaining, and all the better for being 30 minutes shorter.

Coincidentally, once again, I've been meaning to rewatch the original film, although it's one I've never been especially fond of. But I haven't seen it in a while. I'll make a point of watching the 2005 film again, too. I think I've only seen that once, or twice at most.

[pmp]

Tonight I waded through the original Amityville Horror film tonight from 1979. "Waded" being the key word. I found it hard work - surprisingly long-winded, and rather heavy-handed in its character arcs. I'm not a fan of Ryan Reynolds, but have to say I found the 2005 remake with him considerably more entertaining, and all the better for being 30 minutes shorter.

Coincidentally, once again, I've been meaning to rewatch the original film, although it's one I've never been especially fond of. But I haven't seen it in a while. I'll make a point of watching the 2005 film again, too. I think I've only seen that once, or twice at most.

Got to say that some of the extras on the new 88 Films release are more interesting than I found the film!

I got notification today that Moviezyng have dispatched my items today - less than 24 hours after purchasing. That's pretty good going considering they are in the middle of a major sale, and the website had issues yesterday, too. Hopefully they won't get caught at customs. I'm pretty much caught up with the already-available Archive titles, now. A couple of the ones I got yesterday were not even on my to-get list. Athena in particular is one I'm just curious to see!

[Greystoke]

After watching Griselda, I decided to take another look at Cocaine Godmother, Guillermo Navarro's 2017 Griselda Blanco biopic, which was made for television and stars Catherine Zeta-Jones as Griselda.

Navarro, who is a marvellous cinematographer, didn't have much to sink his teeth into with a thin script and a lack of scope in the production, which isn't surprising, given that this was destined for television. Although he does incorporate some nice camera movement and positioning in some scenes, with him doing double duties as director and cinematographer here.

This said, Zeta-Jones is badly miscast and gives an utterly risable performance. She's never been an actor with much depth or range, and this role is beyond her for a number of reasons. Whilst the narration from Warren Christie's DEA agent couldn't be more banal. Which is also true of his character in the film. This said, Griselda isn't sympathetic in this portrayal, and is more ruthless than in the Netflix series.

I also watched Aki Kaurismäki's The Man Without a Past, which is still one of his better films, in my opinion. And also Lights in the Dusk, which is one of his more middling efforts, although there's interesting themes here in a film about a security guard who gets duped into revealing his access information to a shopping mall he guards.

The Man Without a Past has more depth, although both are equally droll and progress at a molasses pace, but Kaurismäki has a particular style in his writing and directing that's unmistakable and certainly fascinating, in my opinion.

[Greystoke]

Tonight I waded through the original Amityville Horror film tonight from 1979. "Waded" being the key word. I found it hard work - surprisingly long-winded, and rather heavy-handed in its character arcs. I'm not a fan of Ryan Reynolds, but have to say I found the 2005 remake with him considerably more entertaining, and all the better for being 30 minutes shorter.

Coincidentally, once again, I've been meaning to rewatch the original film, although it's one I've never been especially fond of. But I haven't seen it in a while. I'll make a point of watching the 2005 film again, too. I think I've only seen that once, or twice at most.

Got to say that some of the extras on the new 88 Films release are more interesting than I found the film!

I got notification today that Moviezyng have dispatched my items today - less than 24 hours after purchasing. That's pretty good going considering they are in the middle of a major sale, and the website had issues yesterday, too. Hopefully they won't get caught at customs. I'm pretty much caught up with the already-available Archive titles, now. A couple of the ones I got yesterday were not even on my to-get list. Athena in particular is one I'm just curious to see!

88 Films have really been impressing with genre films and international films. They've been offering some gems and - as you've said - adding some welcome bonus material.

[Greystoke]

I watched Shooter tonight, Antoine Fuqua's 2007 conspiracy theory thriller, starring Mark Wahlberg as a former marine who is framed for an assassination attempt on the president. I remember seeing it on release and being quite underwhelmed, and that didn't change tonight, largely due to how unrestrained Fuqua's approach is as the film's director. Although it's a film that takes an elaborate and - at times - absurd premise, and runs with it full throttle.

It's full of honking red herrings and action set pieces that are on the cusp of building some intrigue, before the mechanics of the plot get in the way and it moves onto another location. With another set piece. Or another predicament. Whilst Fuqua undoubtedly relishes in themes of power and dishonesty.

Wahlberg is well cast, all the same. And one could be forgiven at the time for thinking this film might have led to a sequel in a similar vein to the Bourne movies. Although it's nowhere near as gripping as those films. Whilst Fuqua just can't direct female actors very well. Here, it's Kate Mara and Rhona Mitra who have the most prominent female roles, and they're thankless roles at best, complete with various states of undress.

Ned Beatty brings some weight to the film as a duplicitous senator, whilst there's some good location work at various stages of the film, including a city-hopping sequence early on. Michael Pena also appears as an FBI agent who is in the right or perhaps the wrong place, at the right time. But when it hits the mark, especially in the action sequences that have a ticking clock sensibility, it does work quite well.

[pmp]

I saw It Came from Outer Space tonight. This comes from the middle of the 1950s vogue for science fiction tales, and while it's not up there with the very best such as The Invasion of the Body Snatchers, it's still pretty good and holds up well after seventy years.

[Greystoke]

Next tonight, I watched All of Us Strangers again, now that it's on Disney+. It's such a marvellous film, in my opinion. From script to screen, with terrific direction by Andrew Haigh, and marvellous performances from the central cast. Especially Andrew Scott, who mines depths of melancholy and loneliness in hugely affecting ways. Whilst Paul Mescal continues to impress in his young career.

[pmp]

Next tonight, I watched All of Us Strangers again, now that it's on Disney+. It's such a marvellous film, in my opinion. From script to screen, with terrific direction by Andrew Haigh, and marvellous performances from the central cast. Especially Andrew Scott, who mines depths of melancholy and loneliness in hugely affecting ways. Whilst Paul Mescal continues to impress in his young career.

I thought I saw it listed on Disney, and then got up this morning and thought I was imagining things. I must try to catch it at some point this week.

[ForeverElvis]

I watched the new version of Road House tonight, which stars Jake Gyllenhaal as a former UFC fighter who takes a job at a Florida Keys roadhouse that's struggling due to rowdy customers. Directed by Doug Liman, this is more a reimagining of the 1980s film than a remake, complete with western themes that are played up so much as to be on the nose.

Gyllenhaal is certainly well cast and he looks magnificent, although his performance is quite low key and charming in between fight scenes. Including unnecessary flashbacks to a UFC career that don't really add much to the story. I was reminded of The Quiet Man in some respects with the flashbacks. And I'm sure Follow That Dream was set quite nearby.

Its quite thinly plotted all the same, although there's nuance from Gyllenhaal amidst some risible dialogue and bad guys that are lined up to be knocked down, before Connor McGregor appears as henchman who is hired to finish the job. McGregor really can't act, although his character is played up to the hilt, and has all the charisma of a castoff Bond henchman from the Roger Moore years.

I did, however, buy into and believe in Gyllenhaal as a warrior with a troubled heart, although this wasn't mined nearly enough, whilst it all falls apart in a final act that throws everything at the wall. Furthermore, the fight scenes themselves weren't entirely convincing, with Liman far too fussy in his approach, which stripped away some of the excitement and visceral qualities the film needed.

I was reminded of the Coyote and Road Runner cartoons during that last hour.

I’m not kidding.

And the end credits scene was just plain stupid.

[Greystoke]

I watched the new version of Road House tonight, which stars Jake Gyllenhaal as a former UFC fighter who takes a job at a Florida Keys roadhouse that's struggling due to rowdy customers. Directed by Doug Liman, this is more a reimagining of the 1980s film than a remake, complete with western themes that are played up so much as to be on the nose.

Gyllenhaal is certainly well cast and he looks magnificent, although his performance is quite low key and charming in between fight scenes. Including unnecessary flashbacks to a UFC career that don't really add much to the story. I was reminded of The Quiet Man in some respects with the flashbacks. And I'm sure Follow That Dream was set quite nearby.

Its quite thinly plotted all the same, although there's nuance from Gyllenhaal amidst some risible dialogue and bad guys that are lined up to be knocked down, before Connor McGregor appears as henchman who is hired to finish the job. McGregor really can't act, although his character is played up to the hilt, and has all the charisma of a castoff Bond henchman from the Roger Moore years.

I did, however, buy into and believe in Gyllenhaal as a warrior with a troubled heart, although this wasn't mined nearly enough, whilst it all falls apart in a final act that throws everything at the wall. Furthermore, the fight scenes themselves weren't entirely convincing, with Liman far too fussy in his approach, which stripped away some of the excitement and visceral qualities the film needed.

I was reminded of the Coyote and Road Runner cartoons during that last hour.

I’m not kidding.

And the end credits scene was just plain stupid.

The end credits scene seemed drawn from the Fast and Furious films. Jason Statham did something similar.

[Walter Hale 4]

I've watched the 1953 black-and-white western Blowing Wild, earlier this evening, my monday night.

This production starred Gary Cooper, Barbara Stanwyck , Ruth ROMAN and Anthony Quinn. Movie was patchy i thought but loved the opener especially the Frankie Laine song "Blowing Wild"



Anyone here seen and either liked or dislike the movie ?



Spoiler alert...

https://en.wikipedia.org/wiki/Blowing_Wild

[Greystoke]

I've watched the 1953 black-and-white western Blowing Wild, earlier this evening, my monday night.

This production starred Gary Cooper, Barbara Stanwyck , Ruth ROMAN and Anthony Quinn. Movie was patchy i thought but loved the opener especially the Frankie Laine song "Blowing Wild"



Anyone here seen and either liked or dislike the movie ?



Spoiler alert...

https://en.wikipedia.org/wiki/Blowing_Wild

It's been a while since I last saw Blowing Wild, although it has never been a favourite of mine. I like the setting and the premise, despite how melodramatic it is. The title song is good, though.

[pmp]

On a slight tangent. Do you folks have a system for cataloguing your blu ray collections? I have my music collection on discogs - which is useful to consult when at a shop or record fair to see if I have something already, and also for rough valuations in case of a fire, burglary, etc. Is there something similar for films?

[Greystoke]

On a slight tangent. Do you folks have a system for cataloguing your blu ray collections? I have my music collection on discogs - which is useful to consult when at a shop or record fair to see if I have something already, and also for rough valuations in case of a fire, burglary, etc. Is there something similar for films?

This isn't something I do, although there are apps for cataloguing DVD/Blu-ray collections, and I think there's an option to do this on LetterBoxd too. The idea of Letterboxd did appeal to me, but I gave up on it. Although I like what they do on social media.

[pmp]

On a slight tangent. Do you folks have a system for cataloguing your blu ray collections? I have my music collection on discogs - which is useful to consult when at a shop or record fair to see if I have something already, and also for rough valuations in case of a fire, burglary, etc. Is there something similar for films?

This isn't something I do, although there are apps for cataloguing DVD/Blu-ray collections, and I think there's an option to do this on LetterBoxd too. The idea of Letterboxd did appeal to me, but I gave up on it. Although I like what they do on social media.

Thanks, Hugh, I'll take a look at Letterboxd.

I saw Island of Terror a couple of nights ago, which I hadn't seen before. It seemed a little bit like a budget version of Quatermass as a group of scientists and doctors chase rather unfrightening-looking creatures around an island. It's not too bad for the first half, but loses much of its credibility when we see the monsters, as they are pretty much at the Poundland end of movie monsters, to say the least. But it does what it says on the tin. Peter Cushing is in good form - he always looked so old and fragile that I get a shock when he starts running around! Not something I'm likely to return to again, but it's entertaining enough.

At the moment, I'm watching season 2 of Wrecked, which dropped on the BBC iPlayer this morning. I very much liked season one, especially with its irreverent sense of humour and its obvious borrowing in the final episodes from a classic 30s horror/adventure movie. Season 2 is struggling a little bit after 2 episodes (there are 6 in total), but it's nice to be reunited with the characters, and will hopefully find its feet as it progresses.

[ForeverElvis]

I started watching “3 body problem” on Netflix last night .

I’m intrigued after one episode. it seems original but let’s wait to see how it plays out. Certainly interesting.

[pmp]

I watched the rest of Wreck season 2 tonight. The first season was a joy, with its whacky sense of humour, genuine sense of mystery, loveable characters, and a substantial dose of queerness. Season 2 has lazy writing, much stupidity, and not enough of a number of the characters who really made season 1 a must watch. And the new characters that are in jeopardy literally don't even have names, let alone personality. It's a great shame, and there's even a suggestion that season 3 will follow. We can only hope it rises above the mediocrity of season 2.

[pmp]

I picked up the Arrow standard edition of the Children of the Corn 1-3 in hmv today for £19.my understanding is that films aren't particularly good, but I had some spare money due toan unexpected royalty payment from Bloomsbury last night, and thought they would hold their price pretty well if I didn't want to keep them and decided on ebay for them later.

Also the Sherlock Holmes Vault Collection arrived this week, which I'll work through over the long weekend. I'm certainly not expecting great picture quality for these early 30s movies, but they are probably better than other versions floating around due to their public domain status in the US. Don't tell djc, he thinks public domain is something that would never happen in the US! Young at Heart on Olive Films also arrived, which was basically a freebie as the Vault Collection had 25% off if I bought a second item. That just leaves the Warner Archive titles to come.

I should finish the first draft of the "new" novel (started 3 years ago!) tonight, so plenty of time to dive in over Easter. There's 7 hours of Ella of BBC2 on Saturday, too, including the rarely broadcast alternate show from Ronnie Scott's in 1974.

[Greystoke]

I picked up the Arrow standard edition of the Children of the Corn 1-3 in hmv today for £19.my understanding is that films aren't particularly good, but I had some spare money due toan unexpected royalty payment from Bloomsbury last night, and thought they would hold their price pretty well if I didn't want to keep them and decided on ebay for them later.

Also the Sherlock Holmes Vault Collection arrived this week, which I'll work through over the long weekend. I'm certainly not expecting great picture quality for these early 30s movies, but they are probably better than other versions floating around due to their public domain status in the US. Don't tell djc, he thinks public domain is something that would never happen in the US! Young at Heart on Olive Films also arrived, which was basically a freebie as the Vault Collection had 25% off if I bought a second item. That just leaves the Warner Archive titles to come.

I should finish the first draft of the "new" novel (started 3 years ago!) tonight, so plenty of time to dive in over Easter. There's 7 hours of Ella of BBC2 on Saturday, too, including the rarely broadcast alternate show from Ronnie Scott's in 1974.

I've been meaning to watch Young at Heart again, although I don't have it on Blu-ray, but it has been available on Sky lately, and it has been a while since I watched Sinatra in a film.

It has been even longer since I last watched Children of the Corn, though. I can't say I've ever been fond of these films, but I'll surely watch the first one again at some point.

[pmp]

I saw Sherlock Holmes' Fatal Hour tonight from the Film Detective box. I'm guessing this 1931 film is probably going to be the best looking of the bunch, and is a huge improvement over what has been floating around for years, despite limitations. Unsurprisingly, as a quote quickie, it's not a great film, but it's considerable better than some films of that nature - including the aforementioned Agatha Christie tale Lord Edgware Dies. Arthur Wontner is a fine Holmes for the most part, and Ian Fleming is a serious Watson with none of the bumbling nature we're used to from the later Rathbone/Bruce films. If nothing else the Film Detective boxed set is nicely presented with copious extras. On this disc is a 1918 short (badly damaged, alas) called A Black Sherlock Holmes, made by the Ebony Film Corporation which was rather notorious and controversial due to their portrayals of African Americans. It closed down c.1920. There's also a booklet with each disc, and short new documentaries.

[Greystoke]

I saw Godzilla X Kong: The New Empire at the cinema this morning, which is firmly in the MonsterVerse and couldn't be farther away from the recent Godzilla Minus One in practically every respect. Granted, Gareth Edwards did lean more towards a more intelligent and sombre monster film ten years ago with his Godzilla, which has lead to the likes of Kong: Skull Island, which I really liked. And the more recent Monarch: Legacy of Monsters.

Here, Adam Wingard steers completely into two hours of mayhem, with little consideration for human characters, and even less subtlety than his previous Godzilla Vs. Kong. With much of the film taking place in the Hollow Earth, where Kong embarks upon a Hearts of Darkness-like quest as Godzilla awakens in Italy, where he has amusingly set up residence in the Colosseum.

It's stuffed with crowd pleasing elements, which have mostly been done better elsewhere, although there's a buddy movie mentality at play when Kong and Godzilla eventually meet again on screen, whilst the presence of another legendary kaiju was quite welcome and nicely rendered.

One of the main nemeses, who I won't describe in too much detail for the sake of spoilers, reminded me of Lee Marvin, whilst there are at least a few quieter moments that give just a bit more depth to the proceedings. Especially with the use of sign language, which was a nice element in the previous film.

Dan Stevens is new to the franchise and raises just about every scene he's in as a veterinarian who is part Doctor Doolittle and part Austin Stevens. His rapport with Brian Tyree Henry was quite welcome and amusing, especially when Rebecca Hall primarily gives exposition in every other scene.

It's probably the least of the recent Kong and Godzilla films, in my opinion, although it does have some striking moments and the visual effects are terrific. Less so some of the needle drops, which feel like an attempt to reach some of the Guardians of the Galaxy's musical sensibilities. With the most appropriate track being (hopefully this isn't a spoiler since it's used in the trailer) Jim Reeves' Welcome to My World, which makes some sense.

There's no end credits sequence, incidentally.

[pmp]

I watched the first of the Children of the Corn movies tonight, and was pleasantly surprised, although my expectations were low. The opening half hour or so is particularly good at creating atmosphere, although the final half hour flails a little when the supernatural elements are filtered in - with some dodgy special effects. Still, I found it enjoyable enough, and the Arrow blu ray looks excellent.

[Greystoke]

I watched Julien Leclercq's new version of The Wages of Fear on Netflix tonight, which is film that seemed inevitable to exist at some stage, given how often Clouzot's original film has been referenced and reworked in recent years.

The plot essentially remains the same as the 1953 film, with Franck Gastambide and Alban Lenoir playing brothers tasked with the job of transporting nitroglycerin by truck across dangerous terrain. The explosives are needed to blast shut an oil well that has caught fire.

Aspects of the story are modernised and reworked, although the film's first act is cluttered and clunky, as it lurches from shootouts and double-crosses, to safe cracking and prison fights. The story itself does remain sturdy enough, although it's directed and edited with no sense of pace or purpose, which isn't helped by a ticking clock that occasionally appears on screen.

Much of the action lacks a sense of heft and physicality, whilst the location being changed to North Africa adds nothing and takes away everything with regards to how little the elements play a role in the story. The terrain never seems truly dangerous or forbidding, whilst there's no sense of heat or the sun bearing down on the characters. Although there are bandits who attack and help drive the film further into Fast and Furious territory, which is something Leclercq seems drawn towards from the outset.

[Greystoke]

I watched Dante's Peak this afternoon, which is probably my favourite of the disaster films that came to prominence in the nineties, although this was the first time I had watched it in years. This said, it's very much cut from a mould that takes a familiar scenario and puts it in a different place, with a different disaster. It could even be a shark, given that it's set in a thriving town faced with a threat that might harm its economy along with its residents.

What I like about the film is Pierce Brosnan and Linda Hamilton in the film's central roles, with Brosnan as the volcanologist who discovers that a volcano thought to be dormant outside the town of Dante's Peak, is starting to activate. Hamilton, who plays the town's mayor and coffee shop owner, believes him when other council members don't. And when Brosnan's boss, played by Charles Hallahan, plays down the possibility of an eruption.

It's well made and there's a nice mix of special and practical effects, including model work and some good stunts. And whilst the buildup to the eruption is slow, again, Brosnan and Hamilton are really good together. This said, the film's director, Roger Donaldson, is quite fond of a Dutch angle. Whilst the secondary characters are one dimensional to a fault, including the usual team of boffins who populate films of this nature.

[Greystoke]

Last night, I also watched Enemy of the State, which is a film I've always enjoyed and it does hold up quite well after all these years and with the technology on display looking quite antiquated by today's standards. Tony Scott's political thriller features the kind of surveillance technology that is commonplace now, but was very much new and daunting when this film was released in 1998.

It owes a debt somewhat to The Conversation, which also operated in similar territory, although this film is faster paced and less concerned with character than putting its central character, played by Will Smith, in dangerous situations where he has to run for his life. He's in possession of something he doesn't know that he has -- footage of murder that was committed for political gain.

Smith is really good, certainly in the physical stakes and with comical banter in sticky situations, whilst John Voight is well cast as the oily politician who is trying to cover his tracks. It's elevated, however, by Gene Hackman in a small, but effective role, as a paranoid former-security agent who is very much aware of clandestine practices within government bodies. He does wonders with a character who isn't much on paper, but thrives with what a great actor brings to the role.

Scott's style is very much amped up in the way he uses technology in conjunction with chase scenes and crashes, whilst the location work in and around Washington D.C. is very good. And whilst some aspects don't necessarily work, namely underwritten female roles, a double-cross that doesn't really make sense, and a climactic standoff that undermines the film's better intelligence, there's a lot to enjoy.