The Hunt for Red October is a 1990 thriller film, directed by John McTiernan and based on the novel of the same name written by Tom Clancy. Sean Connery stars as Soviet Union submarine commander, Captain Mark Ramius and Alec Baldwin as CIA analyst, Dr. Jack Ryan. Distributed by Paramount Pictures and released in theaters on March 2, 1990, THFRO (abbreviation for movie title) received many positive reviews from movie critics, as well as as an Academy Award for Best Sound Editing in 1991.
Here is a brief summary of the movie [beware of spoilers]: A new, technologically-superior Soviet submarine, the Red October, is on route to the United States coast, under the command and control of Captain Mark Ramius. The American government is unaware of Ramius' true intentions and believe he is plotting to attack the U.S. coast. Lone CIA analyst, Dr. Jack Ryan, believes that Remius is planning to defect, but only has a very few hours to locate him and prove it. The only problem is that the whole Russian naval and air force are searching for Ramius too. Who will win the hunt for the Red October?
Honestly, this is probably the best movie I've seen this year; battling for my heart with Ted (2012). The soundtrack for THFRO seems to be based on the Cold War-era and is similar to Russian Army music, as well as being 100% originally created for the movie. Very cinematic and loud (in a good sense) is the sountrack. The plot of the film has a very unique twist on a war-based movie. The game being played in THFRO is ultra clever and intelligent. Slightly, the climax of the film takes a while to take place; a little too long as a matter of fact. But, once you reach that damn climax, it's amazing, scenic, booming and well-filmed. All in all, a great and original war film.
Dissapointment implies that you were somewhat respected before
Joined: Oct 5, 2010
Talladega Nights: The Ballad of Ricky Bobby (2006)
In the mid 00s, Will Ferrell, who usually isn't that funny imo, had three hilarious movies; Anchorman, Talladega Nights and Blades of Glory (That's not to mention the brilliant and thought provoking Stranger than Fiction). I freaking love these movies and TB is probably my favorite out of all them. It does a really good job of parodying the NASCAR industry. The humour is concise and well timed, with Ferrell not being his annoying self and instead actually produces some funny lines. Sacha Baron Cohen is also hilarious as the French antagonist and the rivalry was hilarious. Definitely have a watch if you can.
Total Recall (1990)
In prepeperation for the upcoming remake, I took a quick look at the original, classic movie. This would be a pretty generic Schwarzenegger flick if it weren't for one thing: the constant questioning of whether its real of not. The film's actually really deep that way and you can view it two ways. You can either view the protagonist as heroic or completely mental. The main theme is escapism and wanting something out of this world. Its also really awesome seeing Sharon Stone getting divorced. Personally, I think Quaid was imagining the whole thing, there's simply more evidence. Its also kind of tragic that he wants the fake world more than the real world. I hope the remake will be good too.
The Last Boy Scout (1991)
This is what I like to call Die Hard 2.5, in that its more of a Die Hard film than the last two (I do like WAV though). Anyway, this little film stars Bruce Willis as a hobo private detective who gets caught up in a football betting conspiracy with Damon Wayans, the least annoying Wayans family member. I liked this film, its got a gritty, dark atmosphere and some bits remind me. The reason I call this Die Hard 2.5 is because it follows the realistic brutality that the first movie had. It gets kind formulaic near the end but its still a blast, not the mention the Dragon acts like he just came out of GTA. Have a gander if you're interested.
Delving deeper into my recent interest (read: obsession) with David Lynch's work, I ended up watching the highly acclaimed 2001 film Mulholland Drive. Starring some of Lynch's regular collaborators, such as Laura Harring, Justin Theroux and Naomi Watts from Inland Empire and Michael J. Anderson, the little Man From Another Place from Twin Peaks, the surrealist thriller focuses on the lives, lusts and fears of Hollywood stars in Los Angeles.
Loyal to Lynch's style and reminiscent of many of his other works, Mulholland Drive is an extremely surrealist film that breaks all concepts of time with it's dreamy narration. The thus abstruse film is certain to keep the watcher on the edge of his seat with it's suspenseful, agonizing and constantly present thrill that culminates in horrorish screamers and absurdities when you least expect it.
Released roughly a year after the series' end and functioning as both an epilogue and a prologue to the cult show, David Lynch's Twin Peaks: Fire Walk With Me elaborates on the murder of Theresa Banks and the last days of Laura Palmer.
Starring most of the Twin Peaks cast with the exceptions of Lara Flynn Boyle (whose character Donna Hayward is played by Moira Kelly in the film) and some actors and actresses whose characters were simply irrelevant to the events of the film's, Lynch uses Fire Walk With Me as a way to break the standards of Twin Peaks' narration and representation; in contrast to the series, FWWM is a much scarier and suspenseful totality. Tormenting the Peaks geeks, it provides the fans with answers to questions; more questions. However, it is a brilliant piece of work and provides a pleasing enough of a closure for the Twin Peaks saga.
This is a brilliant documentary about execution. It focuses on a particular case where two teenagers were convicted of committing a horrible triple homicide in order to steal a car. One of them was given the death penalty and the other a heavy sentence. The film interviews the perpetrators, family of the victims, police involved in the case and various other people who give their own perspective on execution.
The first thing I'll say is that the aim of this film isn't to say that execution is wrong. It simply explores the issue. Werner does say from the outset that he personally doesn't support execution though. He chose to focus the film on this specific case for a few reasons. Chief among them is that the guilt of those convicted is beyond question. Second is the awfulness of the crime and third is the fact that the two perpetrators had never expressed any sorrow. This makes the question of whether or not it's right to execute criminals much tougher. You will not feel one iota of pity for these two guys.
Werner has a way of getting to the truth. He seems to see the truth in the least obvious places.
Here's Mark Kermode's review:
Martha Marcy May Marlene
Director - Sean Durkin
This film is about a girl who, after escaping a cult, lives with her older sister and her husband. She is very troubled, paranoid and confused after her life in the cult (which we see through flashbacks). See thinks that they will come and get her.
I liked this film. The performances are all very good. What I found most appealing with the unsettling feel of it. Mark Kermode said it almost feels like a horror. It's very nicely shot. The cult scenes are shot in rural upstate New York and the scenes at her sisters in fancy a lake house. The score is very subtle and adds to the feeling of unease.
To be fair it's a difficult film to describe. Definitely worth checking out.
I just watch War Horse this morning for the first time. I gotta say I liked it. I had no interest before because overhyping usually turns me right off, but I had the DVD at home (a family member bought it).
Yeah, it was pretty epic and well worth at least one watch. (just like Benjamin Button, well worth watch atleast once.)
Since being tipped off about a rainstorm today, I decided to quickly pick up two movies from Blockbuster before the downpour to watch with my girlfriend. I've seen both already, but a long time ago. They're both two very good movies that are on my all-star list.
For one, this movie is as violent and violent as it gets. Definitely should be considered to be rated X if there was such a thing. NBK is very original for being widely off-the-chain and wickedly ruthless. The plot follows lovers Mickey (Woody Harrelson) and Mallory Wilson Knox (Juliette Lewis), both traumatized by their neglectful childhoods, whom are both psychopathic serial murderers. The media begins to glorify the couple's intense amount of killing sprees, feeding their rampage even more. Seriously, this may be the most carnivorous film I've ever seen. I'm a grown man and I found myself at certain points in the movie clenching onto my girlfriend for protection. Though over-the-top with the violence, it is a very fine film and unique in its own way. This and Pulp Fiction are definitely two of my top movies from the 1990s. [9.7 out of 10.0]
TPoGV is the perfect "don't f*ck with the wrong guy" movie. Charlie (Mickey Rourke) and his troubled cousin, Paulie (Eric Roberts) decide to rob a small business in order to win a big horse race. Little did the cousins know that the money belonged to crooked mobsters who were planning on giving the cash to corrupt police officers. TPoGV is very sharp and clever and has a unique twist on the "wrong move" genre. Very engaging and very worth watching. [9.5 out of 10.0]
This post has been edited by StoneHead37 on Thursday, Jul 19 2012, 19:28
I liked Big Stan alot. It is about a real estate salesman who gets arrested for fraud and sentenced to serve prison time. Stan (Rob Schneider) seeks the help of David Carradine (his last role I think) to help him shape up for what he fears is years of man-rape. It's funny. Rob kicks some serious ass too. You wouldn't think.
Obviously I am one hard ass gangsta and only watch the manliest of films, as you can see from my choice here.
In truth, I've actually been thinking lately that I haven't really seen any of the earlier films that always make the list of "classics". It was either this or Citizen Kane, and Kane seemed a bit heavy to start watching at midnight. Audrey Hepburn as quirky socialite Holly Golightly on the search for money (and secondarily, love) in 60s New York is a lot easier to follow.
Despite being 51 years old this year, Breakfast at Tiffany's still holds up strong. There are a few stylistic touches in the shooting that feel quite dated, especially the cuts in conversations, but they're just relics of the time and not too intrusive. Some things are a little more difficult to forgive: Mickey Rooney (a white man) is made up to look like the Japanese owner of Holly's building. Not only is the character essentially in the "blackface" equivalent for Asians, but even if he were played by an ethnically correct actor, the character is such a blanket stereotype that the only thing that eclipses the laziness of the writing is its offensiveness.
Other characters, thankfully, are less of an assault on the morals. Holly's love interest is played largely as a subdued and laid back guy by George Peppard, who only drops the casual act when Hepburn's character seems to be displaying too much independence for the time period. Hepburn herself is charming and somewhat ethereal as Holly Golightly. The extent of her charm and eccentricities are pretty unbelievable, but Hepburn has the elegance and general delightfulness to really sell it.
The film feels startlingly contemporary visually. It may be from how far removed from the early sixties we are now, but it doesn't feel so much dated as it does stylised. The colour palette and pace capture the feel of the early morning haze that hangs over the iconic opening credits sequence, and never really let go until the final, rainy scenes where it's as appropriate as the u-turn both the protagonists take in said scenes.
It's sad that such a charming film with a performance as enthralling as Audrey Hepburn's is marred by the laziness and insensitivity of one caricature. But that aside Breakfast at Tiffany's is certainly deserving of its spot in many of the "Top [x]" lists.
Being one of the biggest reasons for David Lynch's temporary departure from the second season of Twin Peaks, Wild At Heart (1990) is an odd crime drama about two lovers on a road trip. A "strange blend of a road picture, a love story, a psychological drama and a violent comedy", like Lynch himself would describe the film, Wild At Heart stars Nicolas Cage as Sailor Ripley, a deeply enamored parole breaker donned in snake skin and Laura Dern (Jurassic Park, Blue Velvet) as Luna, a desperate romantic engaged to a dangerous life on the road with Sailor.
Illustrating a journey of two lovers fleeing a dangerous group of mobsters, Lynch tries his hand at a relatively non-lynchian theme in which the supernatural and dreamy are ditched to make room for sensual love and drama to flourish. The effort being successful, Wild At Heart overcomes its rather tedious beginning and turns into an exciting and absorbing totality with a surprisingly positive ending.
In between directing the surrealist mysteries Lost Highway ('97) and Mulholland Drive ('01), David Lynch shocked the world of film by directing a family film that did not disturb it's audiences and was actually even distributed by Disney. Based on the true story of Alvin Straight's, the movie is based on a script written by Lynch's long-time partner and associate Mary Sweeney and John Roach and stars Richard Farnsworth in his last role roughly a year before committing suicide.
An extraordinarily beautiful cavalcade of positivity and yearning, The Straight Story is a breathtakingly amazing film that grabs every single human being from the heart and does not let go until the end. Bound to leave the watcher in tears of joy.
After coincidentally watching Breakfast at Tiffany's last Thursday night, and Roman Holiday a week later, Thursday is old school night, unless a better offer comes along. I'd have gone with something more alliterative like Old School Sunday, but that would have required some basic level of planning this.
Anyway, Roman Holiday. Another Audrey Hepburn comedy/drama in which she plays a rather timid and slightly quirky character that exudes charm. You get the feeling that she was such a beguiling person that it wasn't feasible for her to play someone as equally smooth and delightful.That's not to say she wasn't a good actress either, she fully deserved the Academy Award she took away from this film, just that she was very, very good at creating a certain image.
Hepburn stars alongside Gregory Peck (of Atticus Finch fame) as the two spend a day out in Rome after a chance meeting brought about by some rather unethical administration of hard drugs. It's a relationship built on two major lies though: Princess Anne does not let on that she's royalty who just wants to experience a normal life, and Joe Bradley tells her he's a salesman when in fact he's a journalist who has twigged who she is and is after a scandalous scoop. My only criticism of the film is really that these two deceptions seem to be treated on the same level, when one's rather innocent and the other pretty underhanded.
Once you get past the things that anchor the film in its time (the lack of colour, the frankly distracting 4:3 ratio and the mono sound) you do get a film that's obviously a labour of love and application of craft. Even without the brilliance that colour can add to a location, Rome leaps off the screen and embodies the magical effect that a simple day trip with the right people can have.
Plus, it's got what has to be one of my favourite 'no context' lines in a while "It's always open season on princesses".
The Prestige (2006)
On a bit of a Chris Nolan Binge in the wake of TDKR. He seems to have thing for main characters that are in the pursuit of an obsession: Inception's Cobb is willing to do the almost impossible to get home, Memento's Shelby battles with his amnesia to hunt down his wife's killer and The Dark Knight Trilogy's Bruce Wayne retreats into and is eventually consumed entirely by his obsession with the Batman. The Prestige, however, focusses on the idea of obsession entirely.
Two late 19th century magicians become rivals and eventually bitter enemies as their shared desire to best each tears their lives, their families and their bodies themselves apart. There exists a subtle to and fro between the two with regards to who seems the most unhinged: Christian Bale's Alfred Borden taking centre staged at first but quickly relinquishing that to Hugh Jackman's Robert Angiers. Both understand what really drives their character, what is really important to them.
Escalation is the game as the fight drags out over the years. These men give everything for their art, taking illusion, deception and secrets to their logical conclusions with predictable results. Michael Caine, as usual in his Nolan roles, provides a window for the audience to view the often cold and extreme main characters in a more human light. Without his role as Cutter, the an illusionist's engineer, it'd be all too easy to write off both Alfred and Angiers as self-destructive narcissists, which they are, but Nolan's script coupled with characters such as Cutter, and to a lesser extent Scarlett Johansson's Olivia and Rebecca Hall's Sarah, you can find yourself identifying a disturbing amount with just how obsessed these two perfectionists can be.
Me and Amy watched Insidious because it's supposed to be super scary. It wasn't. The f*cking demon looked like Darth Maul for crying out loud.
Then we looked for a movie related to it and we found "The vanishing on 7th Street" let me tell you something about this movie. It f*cking blows! It's horrible! We watched the whole damn thing and it made no sense at all. I then checked IMDB and it was rated 4 stars out of 10 That movie is a f*cking disaster. I could have filmed a better movie with my Teenage Mutant Ninja turtles in the bathtub!
Love the art and not the artist if you have to, but I honestly think Mel has gotten something of a bum rap from the media and whatever.
The movie was pretty damn good. Almost made me want to take up residence in a Mexican Jail. If you have to put all of you recent feelings towards Mel aside and watch this movie. sh*t, pretend he just made it after the Mad Max trilogy if it will make you feel better about it.
It was a great movie, original story, good acting and actors, and some nice action.
I also watched "Safe House" last night too.
Not as original as "Get the Gringo", but still a good way to kill 2 hours. Kinda of predictable and followed the standard 'who can you trust' when working for the FBI.
Just watched Punch-Drunk Love. (Catching all the PTA films I missed before the master comes out )
Very good movie. The direction is f*cking amazing, truely inspiring for me as a wannabe director. Just everything i so simple and subtle yet the shot composition bring its all together. Its got great quirkyness, aided heavily by the precussion sound track in which Sandler prances awkwrdly around too. The acting, by all accounts is great but Sandler brings his f*cking A game here, defiantly needs to stop with these sh*tty comedies. Had a big grin on my face throughout, its not exactly a funny movie in the convential sense but the sillyness, combined with the tone just gives a good feeling overall. The pace was great as well, never once lost attention. Definatly going to have to watch it again to get all of PTA's messages and symbolisms.
Overall Great movie
This post has been edited by DeeperRed on Tuesday, Aug 7 2012, 00:48
A muddled film about middle class kids slumming it, that doesn't quite know what it wants to be.
Havoc is the story of Allison, a girl from a wealthy but broken home, and her similarly rich friends who do the unpredictable thing of rebelling against their parents by getting into hiphop and gangsta culture. They quickly find themselves in over their heads, in what could have been an interesting way of showing the gulf between two lifestyles that are so far apart but so geographically close. There are one or two acknowledgements of that sort bt they're pretty hamfisted and really break the immersion; at one point a drug dealer literally takes Ally on a tour of the neighbourhood pointing out how bad it is. Not exactly subtle. But ultimately, you get a tale that seems a bit more 'lock up your daughters because the dirty poors will destroy them!'.
In some ways the film feels rushed. Some plot threads are left hanging, in particular the character who acts as a window for the audience. A budding filmmaker friend of Allison's so-called "crew" is making a documentary about why they identify with the gangsta thug lifestlye, but he's quickly dropped off and only revisited once to push the plot along . The ending also feels very unpolished. The exciting climax of the final act happens, and the film just ends. Those events aren't dealt with and you're just left with a quick sign off.
Overall, Havoc's a film that doesn't quite know what it was trying to be. If it were a lighter story about some kids getting in over there head it would work, and if it were a slightly deeper film about the pain and loneliness felt at both ends of the class system it would work even better. But what you get is a little bit too much of the former, while channelling the latter in short, hard bursts that can be a bit too much at once.
It's a prime example of the execution not quite matching up to the idea. Anne Hathaway in the lead as Allison is the only real saving grace in terms of production. The multiple facades the character has are entertaining and believable, as are the cracks that appear in the masks she wears either when alone or put on the spot.
This post has been edited by Robinski on Tuesday, Aug 7 2012, 01:00
Note: Click on the CC (Caption) button for English subtitles.
This is my new favourite film.
It has to be one of the most hard hitting, visceral and beautiful works of cinema I have had the pleasure of watching. The Ascent is an esoteric masterpiece of Soviet war cinema, directed by Larisa Shepitko. It is a world away from the generic and sentimental presentations of Hollywood; the emotion here is raw, the conflict of conscience and survival, are themes masterfully crafted. The biblical nuances displayed in the ending are subtle, yet striking enough, to draw blatant parallels with Judas. Hence, the climax and conclusion are universally relateable with our human nature. Our need to survive, or do what is right, is an impasse I have always found fascinating.
The Ascent tells the story of two Belarusian partisans (Sotnikov, a Bolshevik Maths teacher turned soldier; and Rybak, whose thirst for survival drives the films internal power). Both are forced into a difficulty journey in the dead of winter in order to feed their starving band. Their hardships lead them into a terrible situation - after Sotnikov is injured in a chance skirmish with German troops, they are forced to seek shelter in an innocent mother's home. Their subsequent capture results in her arrest with them. Sotnikov, prising the righteous path of resolve, refuses to reveal any information about their camp, despite torture and the threat of death. Rybak, on the other hand, reveals what he knows but hides some details, hoping to live in exchange for collaboration. Sotnikov, the Mother, an old Collaborator who was falsely grouped with the Partisans, and a little girl are all executed in the films climax, with Rybak being allowed to join the German controlled police. His position as a collaborator results in his vilification and an all encompassing guilt consumes him. In The Ascent's daunting ending, he attempts suicide with his belt. Ultimately, as throughout the series of events, he is unable to see it through.
A mix of drama, conflict, humanity and dignity make for one of the most potent pieces of cinema you'll ever see. I'm never the one to feel particularly moved by anything; most definitely, I am not someone to succumb to a tear jerker. But The Ascent had me on the verge of tears in it's execution scene, the power of Sotnikov's resolve in the face of everything, and Rybak's understandable and deplorable compromise hitting me in the face with the power of a swift right hook. Thematically, the search for survival and approval, despite the sacrifices and betrayals to be made against one's conscience, are the powerful issues dealt with in this film. Mortality, too, rears its head in the form of Rybak and the Interrogators conversation, and Rybak's pleas with Sotnikov to reconsider his steadfastness.
The film, as you can see, is above. I highly recommend this to anyone with taste in cinema. It is beautiful in many ways; impactive, subtle, and very much worth your time.
This post has been edited by El Zilcho on Thursday, Aug 9 2012, 01:11
Well, going through the IMDB top 250 list, I noticed this one and thought what the hell is this about, some strange animation for kids perhaps...actually it's for adults and it's a nice little movie, both saddening, surreal and hilarious at times. It's a story about pen pals, two very different people, who share a few things in common, watch it and I'm sure you won't be disappointed. I give it 9/10. And chocolate hotdogs for the win.