Rate the Last Movie You Saw

[Sock Monkey]

Wang is the new boobs. Everything has wang in it these days.

This is so true. The amount of male full frontal I've seen in films over the last three to five years seems to have grown exponentially (no pun intended).

[dannyboy121070]

This is so true. The amount of male full frontal I've seen in films over the last three to five years seems to have grown exponentially (no pun intended).

Pun or not, thanks for the laugh!

[brlesh]

Just saw Wolf Man, and first impressions were I liked it quite a bit, more than I was expecting based on the reviews I read.

The acting was decent, the effects (all practical, I believe, no CGI) were good, and at a 90 minute run time, the story moved along at a good pace. The script was a little cringy at times, but hey, it’s a horror movie.

I give the filmmakers props, they tried to do something different with the traditional werewolf story.

Overall, I definitely thought Wolf Man was worth a view.

B

[Sock Monkey]

Finally got a chance to check out the local revival house theater in town (Come on, I mean, it's only been three years...) and wound up having a great time. They were showing the new 4K restoration of Seven. I was only 16 or 17 when the film came out and wound up watching it alone on some satellite pay-per-view channel, and I was not prepared for the oppressive bleakness of the film. Almost 30 years later (dear god...), I couldn't miss out on seeing the film on the big screen. I took my nephew, who I have taken under my wing in order to improve his cinematic education, and while I had shown him the film about a year ago, he enjoyed it maybe more this time.

First, the new restoration was very nice and a much-needed improvement over my incredibly old DVD. I was worried that the film would look too nice as some of the film's atmospheric texture comes from how dark it is, but that worry was for naught. It's still as dark as ever, but just more crisp in appearance. The audio track was much improved with a greater clarity of voices. So I will definitely be picking up the disc one of these days.

Second, I was worried the film wouldn't hold up for the audience, which was a mix of middle-aged folks, college students, and one awesome elderly couple that had to be in their 70s. Now, the audience is definitely different for a revival house than a regular cinema, with the assumption that since there are a lot easier and cheaper ways to watch the film, the people there are actually there on purpose and not to kill time. Even with that in mind, once the film locked in, you could hear a pin drop in the theatre. There were laughs ("the soothing, relaxing, vibrating home") and cries of shock (the "sloth" victim), but it was all from an audience just held in the palm of a film. Watching people who had no idea what they were getting into walk out like they had just been kicked in the stomach was a lot of fun. It sounds weird, but I just couldn't stop smiling. It was great to see the film still had its power. The elderly couple, though, walked out arm-in-arm with smiles on their faces like they had just watched When Harry Met Sally or something. Man, I want that to be me and my wife when we're that age.

[Ben Staad]

That is awesome. Glad to hear that the magic of Cinema is still alive.

There is something special about watching a good story at the theater that I don't think can ever be replicated at home.

Finally got a chance to check out the local revival house theater in town (Come on, I mean, it's only been three years...) and wound up having a great time. They were showing the new 4K restoration of Seven. I was only 16 or 17 when the film came out and wound up watching it alone on some satellite pay-per-view channel, and I was not prepared for the oppressive bleakness of the film. Almost 30 years later (dear god...), I couldn't miss out on seeing the film on the big screen. I took my nephew, who I have taken under my wing in order to improve his cinematic education, and while I had shown him the film about a year ago, he enjoyed it maybe more this time.

First, the new restoration was very nice and a much-needed improvement over my incredibly old DVD. I was worried that the film would look too nice as some of the film's atmospheric texture comes from how dark it is, but that worry was for naught. It's still as dark as ever, but just more crisp in appearance. The audio track was much improved with a greater clarity of voices. So I will definitely be picking up the disc one of these days.

Second, I was worried the film wouldn't hold up for the audience, which was a mix of middle-aged folks, college students, and one awesome elderly couple that had to be in their 70s. Now, the audience is definitely different for a revival house than a regular cinema, with the assumption that since there are a lot easier and cheaper ways to watch the film, the people there are actually there on purpose and not to kill time. Even with that in mind, once the film locked in, you could hear a pin drop in the theatre. There were laughs ("the soothing, relaxing, vibrating home") and cries of shock (the "sloth" victim), but it was all from an audience just held in the palm of a film. Watching people who had no idea what they were getting into walk out like they had just been kicked in the stomach was a lot of fun. It sounds weird, but I just couldn't stop smiling. It was great to see the film still had its power. The elderly couple, though, walked out arm-in-arm with smiles on their faces like they had just watched When Harry Met Sally or something. Man, I want that to be me and my wife when we're that age.

[Sock Monkey]

Pickup on South Street (1953):

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After my very positive experience catching Seven at the local revival theater, I decided to treat myself the following week by catching the first in their series showcasing films by Samuel Fuller. Fuller's work is a blind spot for me, so this seemed a good chance to catch one of his films on the big screen. Man, it did not disappoint. I love a good noir, but I wasn't prepared for just how charming the cast is. Richard Widmark as an ex-con pickpocket who gets caught up in espionage when he steals a purse on the subway plays it to his cocky best and Thelma Ritter as Moe, a low-level information hawker just trying to get enough money to buy a nice grave and headstone before she dies, provides both humor and gravitas to a role that could have been forgettable. The true MVP for me was Jean Peters as Candy, a prostitute whose purse is stolen by Widmark's character only to find out, unbeknownst to her, she was delivering U.S. info to communists. Not only is she beautiful, but she switches from doe-eyed sweetness to cheeky cynicism without batting an eye or feeling out of character. While I came for the noir, I really fell for just how darn delightful the movie could be. Maybe my perception is tainted due to not expecting this aspect at all, but, honestly, it really would be a perfect date night movie with that combination of charming romance and super-dark spy noir. Fantastic film! Grade: A

[Sock Monkey]

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Checked out The Gorge last night on Apple+ and while it didn't really do anything new, I had a good time with the film. I'm rather ambivalent towards Miles Teller, but I could watch Anya Taylor Joy vacuum for two hours and be transfixed. I don't know what it is, but I find her very charismatic. The chemistry between the two is fantastic and the film leans into this for its first half before descending into horror-action shenanigans. The short pitch would be Vandermeer's Area X meets Call of Duty with a love story. Yeah, the ending doesn't quite live up to the promise of its first half, but I enjoyed it enough that I just couldn't be mad at it. If people told me they loved it, I'd understand. If people told me they hated it, I'd get that, too. I fall somewhere in between. Grade: B-

[dannyboy121070]

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Checked out The Gorge last night on Apple+ and while it didn't really do anything new, I had a good time with the film. I'm rather ambivalent towards Miles Teller, but I could watch Anya Taylor Joy vacuum for two hours and be transfixed. I don't know what it is, but I find her very charismatic. The chemistry between the two is fantastic and the film leans into this for its first half before descending into horror-action shenanigans. The short pitch would be Vandermeer's Area X meets Call of Duty with a love story. Yeah, the ending doesn't quite live up to the promise of its first half, but I enjoyed it enough that I just couldn't be mad at it. If people told me they loved it, I'd understand. If people told me they hated it, I'd get that, too. I fall somewhere in between. Grade: B-

We watched this last night, and I thought the first half was fantastic. I could have done with a whole film of them just getting to know each other and patrolling the gorge. Once we got to the second half, and the explanation of just what is going on, I stopped caring, and found it very hard to keep watching and stay awake. My wife, who hates films like this, loved it. Go figure. I enjoyed her screaming in terror more than I enjoyed the last half of the film, lol.

[dannyboy121070]

My wife surprised me and my son with tickets, and her chauffeuring skills, to the new Captain America film. (We're having some heavy snow this weekend, and my favorite theater is about 30 minutes away, so I was resigned to just waiting until next week, but she has a tank with 4-wheel drive, and is afraid of nothing, so she volunteered to do the driving. I drive a 2010 deathtrap, and I've been in some bad accidents in the snow, so my default is to stay home, lol.)

She spent a good deal of the film napping under a blanket in her reclining seat...she's a take-it-or-leave-it Marvel filmgoer. My son loved it, and I was somewhere in the middle, maybe a 7 out of 10. It was great to see Marvel finally pick up some of the threads of two of their most-hated films (THE INCREDIBLE HULK and THE ETERNALS, both of which I loved.), Anthony Mackie and Giancarlo Esposito were both great, and Harrison Ford seemed to be having fun filling the late William Hurt's shoes. Not one of the GREAT Marvel films, unfortunately, but it was a good time. REALLY looking forward to the rest of the Marvel slate for the year, THUNDERBOLTS and FANTASTIC FOUR: FIRST STEPS, and hoping they will be a return to form for the franchise.

[Ben Staad]

Tried watching a few horror movies on TUBI. First one I couldn't finish is called Cold Skin. I liked the look of it, concept, and setting however the movie wasn't getting anywhere. No rating due to the DNF.Isolated island and monsters usually keeps me around longer than this.

Second one is called Double Blind. I managed to watch the entirety of this one but it didn't offer much. Isolated human lab rats, become trapped, and fight for their survival. Pretty standard stuff with very little story or character development. 2 out of 5.

[Ben Staad]

Atlas on Netflix. Decent sci-fi flick and was good for a blazing hot Saturday afternoon. AI, robots, action, and a passable story. I didn't think about it very hard and it was okay. 2.5 out of 5.

Not a Jennifer Lopez fan but there were enough explosions and mindlessness going on that it didn't matter.

[Ben Staad]

Spaceman with Adam Sandler. A strong 4 out of 5 stars.

This measured story about the human condition, relationships, and a heavy focus on the importance of connections with others. I found this movie visually stunning with some fantastic dialogue heavy on phrases to make the viewer explore emotions.

I found this film leaving me with a lot to think about.

[Sock Monkey]

The Substance (2024): I've had this on disc for a few months now and kept putting off watching it because (a) my wife noped the heck out of this one, therefore limiting me to watching it when she wasn't home, and (b) the hype around it kinda turned me off a bit. I'm glad that I waited to watch it on my own terms separate from the awards clamor because it really allowed me to approach the film on its own terms and not with some high and lofty expectations. Overall, the story of an aging star (Demi Moore) turning to a strange substance to unleash a "better version" of her (played by Margaret Qualley) is a Cronenbergian nightmare that doesn't shy away from the body horror or the use of practical effects. Though Demi Moore deserves the praise for her portrayal, I really need to give some love to Margaret Qualley whose performance as a purposefully oversexualized and objectified character is just as brave as her more esteemed co-star. It doesn't hurt that I've been a fan of Qualley's since The Leftovers, but she really does a great job as a counterbalance to Moore's performance. Dennis Quad's over-the-top performance could make or break some people's enjoyment of the film, but I thought he nailed it and it was great to see him back on the screen. Overall, I really enjoyed this one. Grade: B+

[Sock Monkey]

The Damned (2024): Thordur Palsson's folk horror tale about a widow running her deceased husband's crew at a remote fishing outpost only to find themselves haunted by a potentially supernatural entity after failing to rescue a crew of Basque sailors from their sinking ship starts out incredibly strong and then stumbles along before one of the worst endings I've seen in a long time. First things first, though, and Palsson does a great job building an oppressive and claustrophobic atmosphere in the fishing camp, allowing the cruelty of the hostile natural environment to become a formidable foe in its own right before even introducing any supernatural elements. The cast is solid, if underdeveloped, led by a strong but mournful Odessa Young and an interesting Joe Cole (who happens to be in one of my favorite films, Green Room), but there is little given to their arcs beyond "mournful widow" and "youthful, potential love interest." Palsson takes advantage of the austere setting and amps up the slow creeping dread as a form of madness begins to infect the crew. However, in its final revelations, the film's ending undercuts just about everything interesting about the film.

I'm tagging the rest in spoilers to be safe, but I will say, for those that avoid the spoilers, the film continues a trend I find rather disheartening in modern horror cinema, which is the lack of subtext, in that it isn't the monster represents nothing in the film, but rather the film makes it blatantly known the monster is absolutely a metaphor for whatever theme they want to tackle. For example, the monster in Smile being "trauma" is broadcasted with the subtlety of an air horn. There is nothing to unpack in this narrative because it is laid out for simple consumption like an all-you-can-eat buffet. Compare this to something like The Ring (more so, the American remake), which is also very much touches on the rippling effects of trauma, along with familial guilt, but does so in a way that doesn't beat you over the head with the metaphor.

Spoiler!

So more specifically, I was recently reading somewhere there has been this trend in horror where, in the book's conclusion, it will be revealed that the source of evil or creature/killer has actually been the characters own trauma or grief or whatever. While I personally had not stumbled across this in a work, the general complaint regarding this type of twist is that it isn't nearly as clever, interesting, or profound as the writer thinks it is. Unfortunately, this is the route Palsson's movie takes when its ending is "Scooby-doo'd" away and the "real horror" is revealed to be their guilt and not some ancient evil. It's a decision that takes away any element of the movie that was compelling and really ruins the good will built up prior to the last three minutes of the film.

Ultimately, prior to the ending, the movie would have rated around a B-, but at the film's conclusion, I can't give this anything higher than a D.

[Ben Staad]

Sock Monkey Nice reviews. In particular The Damned sounds interesting enough to me. At the short run time I may give that one a guy regardless of the let down.