Resident Evil - loved it, loved it, loved it! A Zach Cregger movie through and through and that is all I could ask for. Test screenings reportedly urged him to tone down the humour a bit, but this is still a very funny film, but he wisely juggles the humour and horror in such a way that they don't step on each others' toes. The final act goes all in and completely overboard, much to my great enjoyment.
I couldn't agree more with Liam's review on the site, though I actually liked that the movie didn't spend much time worldbuilding, but rather just lets things be what they are. This way, we experience everything through Bryan's eyes (played note perfect by Austin Abrams) and whatever happens outside his experience is left to others to flesh out (no doubt any sequels will expound upon what happened).
@FuriousMachine Yours was the feedback I was waiting to see. I only did the one day on the set and it's hard to tell anything in principal photography other than everyone was committed to doing it right. How was the cinematography and score? I do like the original movie but view it more as a music-video than a movie and because it was so heavily influenced through that Metal roster it technically was one. There's also the fact that the set was heavily haunted so that put a lot of people on edge. They used Krampnitz Kaserne, it's an old Nazi Base/Estate. If you recall the scene when she first awoke, that's the location. Our 35th Guards Motor Rifle Division occupied it in World War 2, we visited a couple of years ago and it was a really unique place. The whole place was basically a Cold War town. The mix of Red Army stars and Reich markings was such a strange thing to see, everything from both sides was preserved. The crew had to be really careful on the shoot, pan up too far and their were engraved symbols in the ceiling, the walls and floor too. The movie may be 'bad', but the location was as I said unique. Unsettling too, but history often is because if it isn't we don't learn from it. I'd love to go back there some day.
I can't add pictures because those symbols carry a specific meaning but if you are curious try Google or any of those other services, you might find it interesting too, I sure did.
I was supposed to watch the new one Monday but I'm still sick so that didn't happen. Did it focus more on tense/silence over loud in your face chaos or was it a blend of both where it did hit those clashes and crescendos of all out craziness? After the first two movies I stopped paying too much attention. They focused more on sound-stages and awful CGI than anything practical or of substance.
These violent delights have violent ends & in their triumph die, like fire & powder Which, as they kiss, consume.
Regarding the RE movie - can someone tell me why it seems to be a recurring thing that when live action movies are detached from the game/cartoon/comic lore that it’s usually highly rated? like the less accurate, or 1:1, the better.
New RE movie
Fast Five
The Dark Knight
Bumblebee (Transformers)
@nomither6 I can give you it in a nutshell. If I attend a closed set now there's often a Studio representative or even a Producer monitoring everything. Usually that just means they want to see where the budget is going and to ensure the pace is up to speed. When it's related to an I.P. like a game there's often a technical advisor and excuse my French but those people don't know their backsides from their elbows. My connection/reason for even being there is that Producer/financing side, we've been involved in the entertainment industry for a very long time, times do change, the technology changes, financing doesn't, nor does the allure of doing something cheaper. An example was when we were on the Serbian set for the last Silent Hill, it looked okay on the day, but they outsourced the effects and the Effects House was one guy who claimed to have a whole team. The results speak for themselves, it's absolutely dreadful and part of that is because they were scammed. So was the audience for paying to see it in the first place.
But back to the main culprit.
Advisors ruin the production by giving expert advice and Directors listen because they don't know the history or legacy of the I.P. themselves. An Advisor only knows what they gleamed from Google, they never played the game, can barely describe the characters and it bloody well shows when you see and hear it in real-time. That's my boots on the ground opinion of it. I only did the one day on Resident Evil and it was a lot more relaxed, I would say the location was part of that too. It wasn't a sound-stage it was a street, people felt like they had more freedom to improvise and think outside the box. It's not like that in the Studio where people are under a microscope. A Director needs their vision, they don't need someone else telling them what should or shouldn't be included in a shot, and even then there are good bad movies that were great in principal photography and in the dailies (un-cut footage watched after a daily wrap) but it's ruined in the editing phase. A bad editor can break a good movie, a good editor can fix a bad movie, not all Directors sit in on the editing process, they take their payment and head off to the next project, it is after all a job and not every Studio is prepared to cover those days either. Everything costs more now, lighting, energy, generators, logistics, accommodation, even release-forms, so corners are cut to make up for it. If we have a production shooting in let's say Prague, we're pulling from our own trucks, not the local grid and if we are it costs even more, that's with tax incentives too, it costs double sometimes triple to temporary house crew, travel and flights are again more expensive, the audience are paying more to see less (usually)
A Director only has so much control on the day itself, part of the problem are the Studios themselves. I could go on but it would turn into another 'this is why kat is feeling disillusioned by modern cinema' rant. I love the medium of film, but shortcuts/A.I./remote out-sourcing is ruining it for a lot of people. Just like the pandemic ushered in remote jobs for gaming it did the same for film and too much is done without proper supervision, Studios sign off on projects without really caring about the quality, or that it keeps to the source material, they only want a return on their investment.
Frankenstein for Netflix was the last fun and happy set I visited, everyone loved what they were doing and no one tells Del Toro how to do a shoot, the man is an Artist and a Conductor all in one. That's part of it too, if a Director is confident and driven the results do show. So many first timers are drafted in for projects and they don't care about the franchise/I.P. They only want to get paid or (this is common) they view video-game movies as stepping stones because Hollywood doesn't view gaming as art. And I'll cut myself off because as I said it will turn into a rant.
Your question may have gotten a little lost in translation, though to be fair it's not as black and white as it sounds. There are many moving parts, I only see the start, never the middle and rarely the end. Most of those newer movies I visited I've never watched, I will eventually. And while every production is different there is a specific flow, one that repeats it's way through production.
These violent delights have violent ends & in their triumph die, like fire & powder Which, as they kiss, consume.
@nomither6 I think it boils down to if the movie is good regardless how accurate it sticks to the lore/characters etc, then it will get rated highly from crictics and movie goers alike.
170 platinums and counting...
Currently playing - The Blood of the Dawnwalker
GOTY 2026: Resident Evil Requiem
@nomither6
From the critic side of it, I'd imagine most don't play the games so they won't care about the lore. From the audience, most will be in that same boat. Then there's fans like me. I'd love something good that's accurate to the games but I don't mind something set in the RE universe that has new characters and is it's own thing as long as it's enjoyable. Beyond that, trying to adapt the games doesn't automatically mean good. Welcome to Raccoon City was complete trash that really screwed up the characterization of some series favorites, especially Leon.
@GirlVersusGame The cinematography was awesome, especially the wintry night shots in the beginning of the movie. So much mood with the black night contrasted with the snowy whites lit by the limited but stark lights of the headlights of the car, the torch from a smart phone or even the flashing lights of a police patrol vehicle. I should have known beforehand, but I only just found out that the DP was Dariusz Wolski, who also did Alex Proyas' Dark City, which I have repeatedly held up as a masterclass example of lighting dark/night scenes. Another stellar effort with this one.
As we have discussed earlier, I don't often notice the score of a movie unless it is exceptionally good or exceptionally bad and this was a case of me not noticing it. To me, that typically means it is a good score (providing mood/atmosphere and not taking focus away from what's happening). So, I can't really comment on it as I have no recollection of it.
Another aspect worth mentioning were the creature effects. Very reminiscent of Carpenter's The Thing and Rob Bottin's practical creatures. I know some of the effects in this were CGI but I'm also pretty sure they did quite a bit of practical effects and I am happy to report that my only reaction to the F/X on display were "cool" (okay, also "f***ing cool") 😉
@FuriousMachine I like how it sounds like you're describing 30 Days of Night or Let The Right One In, as in real Horror was the visual inspiration and not just disclosing everything at once in one big opening shot. Too many movies rely on that early big reveal and it prevents real tension. It also sounds a little like Fargo with that high-contrast shot of the vehicles headlights breaking through the blizzard, obviously Mcredy and his cabin shot in The Thing too, definitely Fargo.
In the movie we had this shot.
For the television series they did go with night.
I should have known beforehand, but I only just found out that the DP was Dariusz Wolski, who also did Alex Proyas' Dark City, which I have repeatedly held up as a masterclass example of lighting dark/night scenes. Another stellar effort with this one.
I knew that part and it's a big part of why I do want to eventually watch it.
You might not have seen this before, it's rather short but says a lot.
I like his approach to practical lighting, it's a big part of why I liked Dark City's look so much too. For me it's a mix of his work on both Dark City and The Crow, I can't choose one or the other. Story-wise it's The Crow every time, it's just such a big part of my early interest in cinema and in music. I think it hit a chord when I was so young, and it tugged some heartstrings and never let go. It introduced me to so many bands too and that line by Michael Wincott 'Childhood's over the moment you know you're gonna die', it stuck with me. I think it was my first graphic novel too.
It was just such a powerful and clever movie and I think Wolski came into his own with those tricks in his backlighting, it was done so well that it blended seamlessly with so many of those city miniatures. It was so desaturated too but left moments for bold and vibrant red for fire and flashbacks. He was able to capture the essence of the original graphic novel and really do the source material justice, under budget constraints too. I'd say that heavy backlighting and high-contrast lighting is almost his signature now, but just like Dark City he manages to use it to carefully highlight and carve out each character, that alone is an art-form.
I liked his work on Napoleon too, he and Ridley Scott used paintings from the era as inspiration for key-lighting, I don't know how noticeable it was for the viewer but he used 65 Vintage Series glass/lenses too. Done right it can mimic that old classic celluloid look. That's really a big part of why I admire his work, he experiments while most play it safe. Sometimes it's down to time too, he still manages to improvise so well on the fly. If you remember Kubrick's 1975 movie Barry Lyndon? he's worked a lot with those techniques too, they are some of my favorite for period lighting. Unfortunately a lot of microscopic LEDs are being used now on so many sets, they mimic candles and candelabras and rate higher in safety standards.
Again I don't know if the average viewer notices. From what I saw on the day I expect a lot of flash-light action, a lot of reds and blues, a lot of blood and snow (salt) and there was a rig to simulate zombies/monsters emerging from the shadows, so I expect that too. I do want to see the final cut but I have this thing where I don't want that first time special something to be forever marked by something not so great. By that I mean I've been sick over a week now and I don't want to watch that movie months or years from now again and be reminded of this. Had there been no liquids in my system I risked organ failure, had it gotten into my bloodstream I wouldn't be talking to you right now. It's bad but it could have been worse and all of the nonsense that went on here over the weekend didn't help. I got lucky, now I just have to wait for the rest to fizzle off and focus on the good things again. I think the movie will be one of those, I was supposed to see it Monday and could hardly see straight. When it's done and dusted I'm going to do cartwheels, I really do not like sitting around bored. We do have things to do and places to be but he's taking no chances. I probably took a few too many myself, hence the current situation.
Another aspect worth mentioning were the creature effects. Very reminiscent of Carpenter's The Thing and Rob Bottin's practical creatures. I know some of the effects in this were CGI but I'm also pretty sure they did quite a bit of practical effects and I am happy to report that my only reaction to the F/X on display were "cool" (okay, also "f***ing cool")
It was Shane Mahan's company Legacy EFX, that giant puppet/monster was shipped from The States to Prague for that shoot, he's worked on a lot of movies like obviously Terminator 2 and he's done work on Aliens. I'm not sure about the VFX, I only saw that early practical rig, it took multiple guys to work it, I still don't know what it was, but it reminded me of the roll the Critters do and the statue of people in The Church. Or that game Katamari something That's the problem with principal photography it does kind of spoil certain things but I'm still looking forward to it. One thing I'll say about Shane is that he's keeping Stan Winston's legacy going, he's one of the last of his crew. There aren't many Stan Winstons or Rick Bakers (retired) left, or Bobs or Savinis but as long as those EFX Houses and schools are still running then their work should continue.
If there are typos I'm blaming my headache, I'm sure I crossed those Mr T's and dotted those I Robots, some always slip through.
These violent delights have violent ends & in their triumph die, like fire & powder Which, as they kiss, consume.
So I just finished watching Resident evil and I say this as a big RE fan, I'm very conflicted. To start with Zach is great director I liked how the whole movie was shot, don't think I could ever question that. He came out in press conferences saying RE4 influenced him the most, but to me it felt like Outbreak file 1+2 level, which I will say is a good thing Outbreak needs more attention (give us a remaster Capcom). Unfortunately I didn't like any of the enemy designs at all like where did he get the tentacles from? , and oh boy the final act was not it, way too much humour and no pay off, anyway I would still it's my favourite RE movie, but doesn't mean much considering it's competition....
Finally got around to watching Heat on an ancient DVD (dual layer from 1999!), I really need to get a Blu-ray. As a kid who grew up with Miami Vice, it’s visually beautiful. It was such a massive deal, back in the day getting Robert Deniro and Al Pachino in the same film. It’s a who’s who of 95’, Hank Azaria (Simpsons), Tone Loc, Henry Rollins (Black Flag), not to mention the main stars. It’s a long film, but the mark of a good film is always how fast that time goes
@DrVenture69 is it perhaps (be right back, it's surely this version)
The clue was the year. Those were the first UK line of DVD pressings for so many movies, I grabbed one handful from my shelf there was also all of the Matrixs, A Perfect Storm and a bunch of others. It's also when Warner Brothers were using the cardboard snapping cases. Not a lot of people collect them because the cardboard frays and loses it's colour over time, I still like them.
These violent delights have violent ends & in their triumph die, like fire & powder Which, as they kiss, consume.
@GirlVersusGame I'm sorry to hear about your health scare, but glad to hear that you're on the mend. Hope you'll be back to normal as soon as possible 🩷
I also prefer The Crow over Dark City overall, but cinematography wise, I'm not as sure. There are some truly stunning shots in the latter that have burned themselves into my mind in a way few other movies have (the swinging lamp in the bathroom scene is one).
Now that I learned that Wolski worked on Napoleon I may even decide to see it. Few movies have held less interest for me than that one, and I'm not really sure why. I guess one big reason is that I've become very wary of Scott in the later years.
Glad to hear that the people following in the footsteps of practical effects legends such as Winston are still getting high profile work. Hopefully that will continue for a long time. The creature you saw is quite central to the movie and reminded me of the Clive Barker short story "In the Hills, the Cities" from "Books of Blood" (though I misremembered the shape of the monster from the book, so there were less similarities than I initially thought).
Hope you're feeling better and that you'll like the movie when you feel up to seeing it
I'm sorry to hear about your health scare, but glad to hear that you're on the mend. Hope you'll be back to normal as soon as possible 🩷
There's nothing to be sorry for it's my own fault. I do believe in mind of matter but if tomorrow your mind says 'hey Furious we never have to eat again', it's impossible to tell it otherwise, I've had my whole life to do it and cant. If you yourself ran into that same infection/eColi you would have had something in the tank. Usually bacteria etc clings to food/particles and the effects are lessened. With me it went straight for my organs, I had no buffer. He was away somewhere and I couldn't go because it was active and places like that already shot my nerves to bits, so for days I didn't sleep, didn't eat, and when he did get back we had to try reboot things which took even more time.
If I could beat the one thing I would, it's been there too long but luckily I do have that Someone who can circumnavigate it because I can't. Today seems okay thankfully, I definitely feel a chill and everything else seems calm. Those foxes you talked about in the resort where people fed them and they forgot how to hunt and so in the off-season they starved, it's sort of like that. I did want to take in every fox in England until you put it like that, your description made me understand it because I live it. I stopped having food left out for them, I still watch them at night but I leave them to their barking etc, the last thing I want to do is put an animal through that, they don't deserve it either.
I also prefer The Crow over Dark City overall, but cinematography wise, I'm not as sure. There are some truly stunning shots in the latter that have burned themselves into my mind in a way few other movies have (the swinging lamp in the bathroom scene is one).
It's a hard one. I think another reason The Crow hit hard for me was the included documentary with James O'Barr. He talked about how he was so unhappy in life, then one day he met someone and she was his whole world, she gave him a reason to live and to love. They were engaged, he was only eighteen. One night a drunk driver ended her life and it absolutely destroyed him. Years later he poured all of that sadness and anger into his Eric Draven character and he's such a real character because of it. I've never had to deal with loss or grief, I knew so early on that we never lose anyone but he didn't know that, had no confirmation of a life eternal and like so many other writers and artists he created a masterpiece out of tragedy. For him it was therapy, for many artists it is. I think we all have some Shelley and Eric in us somewhere and the movie taps into that for a lot of people. People might not want to admit it because the tone is so dark, but it's also a story about love and redemption. I never even thought of it before but he came back to life too, maybe that's another reason I gravitated towards that character. He had unfinished business and I think we all do, I just don't know what it is.
Now that I learned that Wolski worked on Napoleon I may even decide to see it. Few movies have held less interest for me than that one, and I'm not really sure why. I guess one big reason is that I've become very wary of Scott in the later years.
I can't put my finger on it but I think he sort of lost it after Gladiator, it was a run of movies like Thelma and Louise, Alien and Blade Runner to movies that I mostly skip now. For me Napoleon was the lighting and cinematography, not the Direction or even the acting.
Glad to hear that the people following in the footsteps of practical effects legends such as Winston are still getting high profile work. Hopefully that will continue for a long time.
Stan as far as I know had the first school and it was founded after he passed. His Family and friends wanted to keep the tradition alive, it's hard to know how much career potential there is left in that field. Rick Baker did offer classes too and his work on An American Werewolf in London did land him the very first Academy Away for best make-up. I think he put practical effects on the map and then others followed in his footsteps. Then there are the guys like KNB who never stop doing what they do. They were kids when they started. That seems to be the theme with so many like them, it doesn't seem to be a job or art that an Adult one day wanders into, instead it was kids playing with ketchup and corn syrup and then making those small backyard movies. My concern there is if kids are still even doing that or if it's Fortnite instead, it's such a niche industry too and I think a product of the Eighties. So many of those people talked about watching monster movies, reading monster magazines/comics and wanting to do the same thing. It's such a unique interest and it has to come from somewhere, I'm trying to even think of the most recent monster movie. One approaching mainstream, you'd have a better idea there, I can't think of any, it's too much about the actors now and political statements. I can only think of Godzilla, The Mist and Cloverfield. I still watch bad modern Horror knock-offs too and the disturbing trend there now is A.I. it looks dreadful, I hope that's not the future.
The creature you saw is quite central to the movie and reminded me of the Clive Barker short story "In the Hills, the Cities" from "Books of Blood" (though I misremembered the shape of the monster from the book, so there were less similarities than I initially thought).
The first Books of Blood movie actually scared me. Which is really rare for any movie and I think it was that one scene with countless spirit people in an endless line writing their story on his skin. It felt like what I talked about recently with Metonymy. The whole Sixth Sense after touching death thing. There was an endless line of those people too and all I wanted was sleep. Like that movie they wanted to be heard and I'm sure that's why that movie did hit a nerve. People think we go straight on up, we don't it's free will, and from what I experienced the ones who stay behind either don't realize they are dead, are so angry with someone or something, or they don't have the closure to move on. I won't ever watch The Sixth Sense again either.Creative geniuses like Clive Barker are equipped to use the supernatural in a truly Horrific and yet almost respectful way. The people who provoke it in real life have no idea what they are doing, that whole 'show yourself give me a sign', mine was 'leave me alone let me sleep'. The Sixth Sense should have been cathartic, instead it was just one big reminder and extremely representative of that big something. I can't think of many other movies that hit the same chord, it was incredibly honest and didn't need any bells or whistles, the real thing is sad, disturbing, confusing and often pretty damn scary. It's self-imposed limbo by choice, few if any movies understand that, and the implications there are more frightening to me than any monster/VFX or creature from anyone's mind. The real thing is too human, too psychological and human's, physical or other are extremely complex in both formats. Actually that was a good movie that dealt with the psychology 'The Others' with Nicole Kidman, it reminded me of the lady one who showed up telling me that her linens had caught fire and she had gone back in to save her youngest. The real thing isn't woo woo, it's deeply intense emotional trauma, and when they reached out they had a reason to do it. I'd prefer they had reached out to someone else, but it's in the past now thankfully.
If you've seen it you know it, I'll never watch that one again either, it's too real.
These violent delights have violent ends & in their triumph die, like fire & powder Which, as they kiss, consume.
@GirlVersusGame I never saw the first movie (the 2009 one where they used the singular "Book of Blood" as the title), but I remember thinking the 2020 one was pretty decent. I had a look at Wikipedia on which of the stories from the collection had adaptations and of the ones I've seen, the only one I'd claim was really good was Candyman. I haven't seen Rawhead Rex, which I seem to remember you're a fan of. I had hopes for Midnight Meat Train, because I loved Ryuhei Kitamura's bats**t low-budget zombiefest Versus, but I found his adaptation plodding and uninteresting.
Yeah, I'm a big fan of The Others, got the 4K release not too long ago and had a re-watch. Still great.
@FuriousMachine That's the one I saw, you might like it. There was some interesting psychology at play, it did feel like a Clive Barker novel. I love Candy Man, I think because again it's a story of tragedy and wrong doing that ultimately led to revenge, but also because of Philip Glass's incredible score and speaking of Glass.
I've been listening to him all day. That compilation was with the Brussel's Philharmonic. My Favorite is his Glassworks album. It was his attempt to introduce minimalist music to a wider, audience outside of the usual theatrical and concert settings. At the time he called it chamber music for Walkmans.
He is such an incredible composer and Candy Man for me was one big Philip Glass machine, I can't picture that movie without his score or The Truman Show. I spent so long trying to learn how to play 'Truman Sleeps' without sheet music and once I finally could it was such a sense of accomplishment. It doesn't sound complex but it is when you try to play it, for me it was learning to keep up with the constant shifts and polyrhythms, if for example you miss a beat or the hand slips out of sync then the whole piece crumbles and you have to start again. There's discipline there and I learn everything in life through rigid rules and strict discipline, that 'start again' has been with me in everything from piano and cello to skating and fencing. I like the 'start again', it's like a warm oppressive blanket that forces me to to address the mistake and do better next time, not cry about it, just do it. His work does too and that's the brilliance of Philip Glass, it sounds so nihilistic and simplistic, his work is anything but and it takes sitting down with that sheet music to realize that dedication. That's even without getting into dynamic balance and emotional control. For me it was 'that piece sounds lovely I should try to learn it', it took weeks and the message from the movie was so powerful too.
He's the most deceptive composer you'll ever come across. To the ear and on paper it looks so easy and so streamlined, it's repeating patterns and arpeggios, the mind says 'oh yes easy', it's some of the most psychological demanding and draining music out there. He understands minimalism like no other composer I've seen or heard, he's an absolute Master composer and his work/scores speak for themselves. Every major orchestra around the world has done a compilation of his work. It's hard to word unless you play piano or cello or both but he has a kind of flawless uniformity about him, one I really admire and try to replicate but never will. I have stamina and focus, but those repeating sequences and perfect attacks in tone and volume require the fingers of a Master. I play to feel, I can hear his dynamic shifts and arcs on a vinyl, I can't feel it unless I play it. When I tried to explain feeling nothing unless it hit that dynamic range (to Ravix) Philip Glass is a perfect example.
An example of what I mean. It sounds simplistic, you can't see those fingers, it's anything but. His Glassworks album is absolute perfection and that theme 'Helen's', takes so much of that same psychological stamina I mentioned.
And Truman Sleeps, it too sounds so simplistic, it's not.
I've already listened to Etude No. 16 (Arr. for Cello Solo and 8) thirty+ times today, he's incredible. I think also it depends on the person, some would call that 'sad', I'm not just hearing it I'm visualizing the strings and improving by subconsciously keeping pace of each string. I'm sick too so I can't play and days without an instrument feels like missing a limb. I want to try later, I just need the energy or I'll push and push and make things worse. It's hard to explain not feeling anything, or feeling by proxy, my base-line is usually zero, until dynamic range like that whisks up something or unless I carry out an action and I'm given that audible 'well done' and head-pat, hence by proxy. Music allows me to do it without the other Person present. When Ravix said over and over to watch Drive, it was and still is the only movie I've ever watched where I felt the story, mainly because it focused on a silent protagonist and used that specific dynamic range. I did feel before, I just forget what it's like, which is an odd statement but Alexithymia is very real. I can feel for you, for music, I just can't put myself in that movie or that game, there's nothing there. Which is also why that 'Good Boy' did manage to scare me, I was able to see things through the eyes of that puppy not a person. I remember telling you 'oh I can't wait it will be brilliant' then the next day 'that was horrifying I'm never watching it again'.
That was on his 87th Birthday, for his new Glass Solo album.
Ludovico Einaudi is also someone I admire and try to replicate, this is on-topic it's from his movie 'This is England' about a British working class Family, Nationalism and identity. I never see people talk about it. I can ever rarely get through that piece on piano, it's emotionally charged, so was the movie. It's not the original track, but it does show the movie which gives a better idea of what I can't.
I haven't seen Rawhead Rex, which I seem to remember you're a fan of.
It's a really bad low-budget monster movie, utterly ridiculous and rare, hence why I like it. I think it was a short story and a graphic-novel too. The trailer speaks volumes.
@Neuromancer That was my favorite Punisher movie too, I did wonder why you were quiet over the weekend. It's Moderation though and someone told me there's a rule about discussing that so I don't. Welcome back, I'm not sure what you missed. I mostly talked to people all night in the weekend thread, team Insomnia was out in force again.
These violent delights have violent ends & in their triumph die, like fire & powder Which, as they kiss, consume.
@GirlVersusGame that’s the one! Cardboard sleeve, snaps shut (I’ve got the same Three Kings version too). The picture quality wasn’t great, but I love the film. So many echos to it in GTA 5 too,
@LN78 Not many on the internet would bother being polite about disagreeing with anything, so always nice when it happens 🙂. And it's worth pointing out that I by no means disliked the movie, quite the opposite, but to me it failed to live up to the insane hype many critics put out there and it was nowhere near the gold-plated, diamond-encrusted masterpiece it was hailed as. At least not to my mind.
EDIT: That car chase, though. Pure brilliance!
Just a few old movies i've watched in the last few weeks:
Miller's Crossing (the "Jesus, Tom" version) It had been a while, but it is a classic Coen movie. I don't know why in later versions that small amount of dialogue was cut. But i've never seen it without, I don't think.
The Assassination of Jesse James by the coward Robert Ford finally got around to watching this. And I instantly wanted to see the rumoured 4 hour cut that apparently existed at some point, somewhere, locked away. In my mind I was always kind of waiting and hoping for a director's cut, which is maybe why I held of watching it for so long. But I gave in. It is a long film already, but the time flew by and yes, I still wanted that 4 hour cut. Give me Deakins or give me death. If there is suddenly a 4k master and director's cut released, you may thank me for my service.
Now, I think i'm still in the mood for more period potentially crime/drama/western adjacent type cinema. So I will have to raid the collection for ideas of what is next up. I do have Tombstone, Master and Commander and Barry Lyndon all lined up on a shelf, so maybe that will suffice, for now. There is also a slight hankering for straying into gritty, muddy War movies at this time of year too. Before, I assume, an October of Horror Adjacent and practical effects based stuff, as that will be calling my name as the season gets spookier.
Any suggestions from anyone to anything that would loosely fit into any of my loosely defined genre/feel movies are welcome. I do love this time of year and it definitely makes me want to watch and discuss movies more.
I'll give @furiousmachine a courtesy tag, and ask if you have you got anything lined up for the home cinema experience over the coming months? I don't know if your brain quite works like mine (I hope not, am I right? 💀) in terms of specific types of movies calling to you at certain times of the year, but maybe it does. But i'd be intrigued to know if you have any ideas lined up for the next few weeks or months in terms of a viewing docket of your owned stuff, either way. (Open some of those sealed movies, you swine 😛)
Anyone else excited for, what I consider, the real movie season that is fall and winter?
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Topic: The Movie Thread
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