Which films have you seen lately Vol.22 Now with Smell-O-Vision.

Fippy · May 11, 2024

I will look out for that movie

Thorgalaeg · May 11, 2024

The one about Lancia vs Audi in 1983 Rally season. Not particullarly bad filmed or acted but totally hollow and forgettable. Partially based on real facts but with the usual invented cliches. Even added a fictional crash causing coma to a fictional inexperienced driver because the main driver didnt want to race that day, etc. :shake:

Still managed to watch it to yhe end without vomitting, more than i can say about the Lamborghini movie.

Jeremy Clarckson short documental about 1983 Rally is much better, 100% accurate and exciting, and is available in Youtube for free...

Synobun · May 11, 2024

lymond said:
Rotten Tomatoes just released their Top 300 movies today here. I assume this is based mostly on critic reviews (edit: rating does include RT user reviews). I generally go mostly by user reviews, but this may make for some interesting discussion.

I'm going to go through this and count up all the movies I've seen and try and find my scores for them. I'll be back. Maybe. Depends on how egregious the results are. :lol:

Synobun · May 11, 2024

Synobun said:
I'm going to go through this and count up all the movies I've seen and try and find my scores for them. I'll be back. Maybe. Depends on how egregious the results are.

It turns out I've seen more movies on the list than I expected: 69 of them. Nearly a third isn't that bad when I'm a creature of rewatches, and I tend to avoid "classics."

The issue I ended up running into is that for many of them, I can't find scores anymore, so I don't know how to place them in comparison to those I do have scores for. Stuff like Life of Brian were things I saw 15+ years ago, so even my memory is a little shaky.

Maybe at some point I'll make an effort to score my list and then reorder based on my rankings, but that's an amount of effort I have trouble justifying at the moment.

I did keep a list of the movies I saw:

Spoiler :

Smellincoffee · May 11, 2024

Trees Lounge, 1996. Steve Buscemi plays a mechanic who was recently fired, who spends his time hanging out in a bar with a few characters who we get to know over the progress of the movie. After his uncle dies he starts driving the uncle's ice cream truck to earn some money, but gets in trouble after his ex-girlfriend's niece starts hanging out with him. It's not a story that gets wrapped up nice and neat, but the viewer gets interested in the characters, and that's what matters. Definitely enjoyed it. Michael Imperioloi, who played Christuhpuh in The Sopranoes (where Buscemi also played a character, that animal Blundetto!) appears. His accent is stronger in Sopranoes. My introduction to Chloe Sevigny, who I definitely want to see more of.

EvaDK · May 12, 2024

Exhuma
South Korean supernatural horror with Choi Min-sik of Oldboy and I Saw The Devil. Can be a bit challenging to follow, if one is not too familiar with South Korean traditions regarding burials, dealing with the recently dead and old spiritual beliefs. The main story revolves around a burial that unearths an old coffin with a curse attached. I liked it, but the first half can be a bit confusing; why characters are acting the way they do.

I Saw The TV Glow
A kind of coming of age psychological drama with horror elements. Owen and Maddy are two young outcasts sharing a passion for a 1990s tv-show called 'The Pink Opaque'. Don't want to say too much about the plot, but it revolves around isolation and crisis of identity of our two main characters. Very impressive dreamy visuals and soundtrack from writer/director Jane Shoenbrun's second feature film. She's a trans person and you can read the film in that light, but I feel it speaks to anyone going through their teenage years and discovering who they are. Feels like watching Donnie Darko had it been written and directed by David Lynch.

Kyriakos · May 12, 2024

Nightbitch (2024) | Comedy, Drama, Horror

| R

www.imdb.com

Is Amy Adams Nicolas Cage now?

EgonSpengler · May 12, 2024

lymond said:
Rotten Tomatoes just released their Top 300 movies today here.

I haven't even seen half of these. :blush:

I note that they say, "our recommendation formula[...] considers a movie’s Tomatometer rating with assistance from its Audience Score", but they're not more specific than that. I don't feel like doing the homework, but I wonder how this list compares to the most recent Sight & Sound poll, or to a list using only audience scores. I'm not overly concerned with the precise rankings, but I'd like to see what's included in those lists that isn't here at all, and vice-versa. A list of movies by Metacritic score might be interesting, too. Notably, RT's 'Tomatometer' doesn't distinguish between like and love. A score of 100 could just mean everyone who saw the movie thought it was fine, while a score of 75 could mean that ¾ of the people who saw it thought it was among the best films ever made and the other ¼ were like "wtf did I just watch?" (I suppose it also doesn't distinguish between mild disappointment and true loathing - I think a 'meh' goes down as a negative review - but who cares about that, unless for some reason you're trying to assemble a list of the most reviled movies ever made.)

Notable omissions from this list, imo: Almost Famous (91% from 227 critics and 92% from 250,000+ user scores) and In the Mood for Love (92% from 187 critics and 94% from 50,000+ user scores). Those two are not just things that I think should be on the list, they're things that seem to be widely liked. At first glance, it looked like you needed at least a 94 to get on this list, but no, there are things with 91-92. There's even one 90 (Amelie) and one 89 (Taxi Driver, surprisingly). Notably, movies like Children of Men, Her, Master & Commander: The Far Side of the World, The Matrix, and When Harry Met Sally... are not universally beloved. Children of Men and Her are examples of why you can't rely on Audience Scores, either: Only 85% and 82%, respectively (they got 92% and 95% from critics). I'm shaken to see that The Exorcist has only a 78% Critics' Score (87% Audience Score, which is still too low).

The ones from the list that I've seen:

Spoiler :

BenitoChavez · May 13, 2024

lymond said:
Rotten Tomatoes just released their Top 300 movies today here.

What I've seen and how I'd rank them

Spoiler :

Also having The Force Awakens on any top movies list is a travesty given the general aimlessness of the sequel trilogy and how much it ripped off from A New Hope.
Also also, having Endgame but not Infinity War.
Also also also, having 2009's Star Trek but nothing from classic trek? No Wrath of Khan?
I know it's critics and user rating but I like to grumble. :gripe:

BenitoChavez · May 13, 2024

This weekend's movies

Miller's Girl - A student tries to seduce a teacher with predictable results. It toes the line between sexy and uncomfortable, manipulation and genuine affection. I guess that was the point. Overall I liked it but there were some weird music choices and some annoyingly verbose monologues.

Kingdom of the Planet of the Apes - I quite enjoyed the Caesar trilogy and this is definitely a worth successor. I actually think I like this more because there were some annoying, 1-note human characters in the trilogy. Not so here. Great story, great world building, some awesome/tense moments. There was a religious element to this movie I wish they did more with. Also there's a fairly significant plot detail they don't really explain and I guess it's up to the audience to fill in the blanks.

Godzilla (2014) - Not much to this movie. Simple storyline, the characters were pretty bland other than Bryan Cranston's who seemed like he really gave it his all. Godzilla isn't even the main monster and is only on screen for like 20 minutes most of which is watching his spiky back as he swims. The CGI uses a lot of fog/dust/darkness to cover stuff up and make it hard to see.

Synobun · May 13, 2024

After Earth. 5/10. Passable action flick. I've been morbidly interested in this movie for a while. Everyone describes it as an awful movie borne of nepotism. I guess it is nepotistic, though that ignores that both Will and Jaden Smith are perfectly fine actors. Where this movie stumbles is that the ursa plot does not require its backstory. It should have been completely unrelated to that past event in Jaden's character's life. Not everything needs to be interconnected, and it would have been better to have this be more of a standard predator-prey setup. Another weakness is the route they went for humanity's progress, complete with stilted linguistics. It made for awkward dialogue, and in a movie where the two main characters are communicating strictly through a comm device, that's counterproductive. Jaden's character is a fool, but that's the point, so it's tough to dock points for it. All in all, I did not hate it, but it wasn't interesting either.

Awake. 7/10. I liked this more than I expected to. It's your standard apocalyptic "ooo something happened to human biology" plot with cheesy acting. But it was kind of fun.

Kyriakos · May 14, 2024

Rewatching The Empty Man.
A cool horror movie.

Clubber Lang · May 14, 2024

Big trouble in little Megalopolis -

‘Has this guy ever made a movie before?’ Francis Ford Coppola’s 40-year battle to film Megalopolis
The director has spent half his life and $120m of his own money to make his sci-fi epic. Just days ahead of its debut in Cannes, some of his crew members are questioning his methods

‘My greatest fear is to make a really horsehockey, embarrassing, pompous film on an important subject, and I am doing it,” Francis Ford Coppola said in 1978. “I will tell you right straight from the most sincere depths of my heart, the film will not be good.” The film was Apocalypse Now, and it was good, and the rest is history.

Part of that history has been Coppola’s reputation as an intrepid adventurer who was prepared to risk everything, to defy the studio suits, to go to the brink of ruin and madness, all for the sake of art. The making of Apocalypse Now cemented that legend – the epic scale, the jungle insanity, the heart attacks, the unbiddable weather and even less biddable actors – all of which was captured by his wife, Eleanor, in the 1991 documentary Hearts of Darkness. Coppola’s anti-establishment approach has produced some of cinema’s greatest triumphs (The Godfather trilogy, The Conversation, Dracula) but also some of its worst failures (One From the Heart, The Cotton Club).

Now, it seems, the 85-year-old is putting all his chips on the table one last time, with his long-awaited sci-fi epic Megalopolis, which debuts at the Cannes film festival this Friday. Nobody can quite believe it has happened: Coppola has been trying to make this movie for more than 40 years, during which the project has gone through innumerable rewrites, delays and false starts. It exists now only because he sold part of his successful winery estate to finance the movie when no one else would. So, will Megalopolis be one final masterpiece from the New Hollywood titan, or will it turn out to be a “really horsehockey, embarrassing, pompous film on an important subject”?

Cast members including Adam Driver have spoken positively of their experience on the film, but, according to other sources, its making was almost as fraught and chaotic as that of Apocalypse Now. Much time and effort was allegedly wasted, crucial crew members quit halfway through and Coppola made things even more complicated by embarking on a property redevelopment at the same time. As one crew member put it: “It was like watching a train wreck unfold day after day, week after week, and knowing that everybody there had tried their hardest to help the train wreck be avoided.”

Coppola has described Megalopolis as his “dream script”. He first had the idea while making Apocalypse Now, fuelled by the same concerns about US imperialism. He has framed it as “a Roman epic set in modern America”, transposing the Cataline conspiracy to overthrow the rulers of the Roman empire in 63BC to a sci-fi future. The plot hinges on an idealistic architect (played by Driver) trying to build a utopian city on the ruins of New York, against the wishes of the mayor (Giancarlo Esposito), with the mayor’s socialite daughter (Nathalie Emmanuel) caught in the middle. The cast is star-studded: Shia LaBeouf, Aubrey Plaza, Dustin Hoffman, Jon Voight, Laurence Fishburne. And, according to reports, it takes in big themes such as politics, race, architecture, philosophy, sex, love and loyalty.

The project first came on to the front burner after the failure of Coppola’s 1982 musical One From the Heart, which he self-financed, then opted to direct remotely from a custom-built trailer known as the “Silverfish” in order to test out new video production technology (as one industry figure put it, “He took an $8m project and used the latest advances in video to bring it in for $23m”).

“In the early 80s he talked about it a lot,” says the sound designer and longtime Coppola collaborator Richard Beggs. And he was already thinking big. “At one point it was going to be staged, sort of like [Wagner’s] Ring cycle in Bayreuth: the film was going to be screened over four nights. And audiences would come and they would book themselves into a hotel and see this thing in a gigantic outdoor purpose-built theatre,” says Beggs. He was thinking of something like the Red Rocks amphitheatre in Colorado.

Various personnel came and went over the years. In 1989, production was rumoured to be starting at Rome’s Cinecittà studios, with Coppola’s trusted production designer Dean Tavoularis and the comic book artist Jim Steranko (who had worked with Coppola on Dracula) designing sets. Coppola regularly held table readings of his latest draft of the script with actors including Paul Newman, Robert De Niro, Al Pacino, James Caan, Edie Falco and Uma Thurman. The cinematographer Ron Fricke (whose documentary Koyaanisqatsi Coppola produced) reportedly shot more than 30 hours of second-unit footage around New York for the film. They were in the city shooting when 9/11 happened, which, says Coppola, prompted a major rethink: “How do you make a movie about the centre of the world without it dealing with the fact that … it was attacked and thousands of people were killed?”

In recent years, Coppola’s career appears to have been tailing off – he has directed just three features since 1997 – but it seems he never let Megalopolis go. About 300 rewrites, 40 years of preparation and one winery sale later, he finally had the means to make his dream script come true: in autumn 2022, shooting commenced over several sound stages at Atlanta’s Trilith studios.

“I have no idea where Francis gets his energy from,” says the British director Mike Figgis, who has known Coppola for 30 years. About 18 months ago, Figgis jokingly suggested making a fly-on-the-wall documentary on the making of Megalopolis. A few months later, Coppola contacted him out of the blue, “Saying: ‘When can you be here? Can you come now?’ That’s very Francis.”

Arriving in Atlanta, Figgis was impressed, he says. “Watching an 84-year-old guy hold together that massive team, and to have enough brains to be able to direct the actors, the camera and everything … He was up every morning making notes on his way on to the set, or he’s discussing his ideas with Roman, his son. And at the end of the day, he’s also the producer, so he’s thinking about his interest rate.”

As if that wasn’t enough, Coppola made life even harder for himself: “When he arrived in Atlanta, he was looking for accommodation for his extended family and he wasn’t finding anything he particularly liked. So he bought a drive-in motel which had just closed, and decided to renovate it. So all the way through the shoot, he lived there. The construction noise started at six in the morning.” When Figgis (who opted to stay in a different hotel) asked Coppola how he handled it all, “He said, ‘Look, it’s all the same thing. Movie business, construction business: it’s telling people what you want, and making sure they do it.’”

The actors seem to have been obliging at least; no heart attacks this time, although there was some tussling with Shia LaBeouf. “He and Shia had this wonderful combative relationship, which was very productive,” says Figgis. “Shia had a lot of questions, and sometimes Francis would be stressed by a bunch of other things and he would respond in a certain way. There was also a lot of humour involved, so it was very entertaining … But sometimes [Francis] was just like, ‘Ugh, I can’t deal with this,’ and he’d just go into the Silverfish and direct from there.”

By the sound of things, the shoot became a clash between Coppola’s old-school approach, privileging spontaneity and “finding magic in the moment”, and newer digital film-making methods, such as filming actors in front of virtual CGI landscapes in a “volume” – effectively a giant wall of LED screens. Today’s technology enables directors to realise anything they can dream up – including utopian cities of the future – but working this way demands preparation and collaboration. “I think Coppola still lives in this world where, as an auteur, you’re the only one who knows what’s happening, and everybody else is there just to do what he asks them to do,” suggested one former crew member, who did not wish to be named.

The crew member sometimes found Coppola’s approach exasperating: “We had these beautiful designs that kept evolving but he would never settle on one. And every time we would have a new meeting, it was a different idea.” When the crew member insisted they needed to do more work to determine how the film was going to look, they say, Coppola replied: “How can you figure out what Megalopolis looks like when I don’t even know what Megalopolis looks like?”

A lot of time was, apparently, wasted. A second crew member recalls: “He would often show up in the mornings before these big sequences and because no plan had been put in place, and because he wouldn’t allow his collaborators to put a plan in place, he would often just sit in his trailer for hours on end, wouldn’t talk to anybody, was often smoking marijuana … And hours and hours would go by without anything being filmed. And the crew and the cast would all stand around and wait. And then he’d come out and whip up something that didn’t make sense, and that didn’t follow anything anybody had spoken about or anything that was on the page, and we’d all just go along with it, trying to make the best out of it. But pretty much every day, we’d just walk away shaking our heads wondering what we’d just spent the last 12 hours doing.” As a third crew member puts it: “This sounds crazy to say, but there were times when we were all standing around going: ‘Has this guy ever made a movie before?’”

Adam Driver’s first day on set was particularly memorable, a source suggests. One aspect of the story involves Driver’s character’s body fusing with some futuristic organic material. Rather than using digital techniques, Coppola wanted to achieve the effect through old-school methods, using projectors and mirrors, much as he had done on Dracula, 30 years earlier. “That’s great, except nobody can move,” says the crew member. “So they basically strapped Adam Driver into a chair for six hours, and they literally took a $100 projector and projected an image on the side of his head. I’m all for experimentation, but this is really what you want to do the first day with your $10m actor?” The effect would have been quick and easy to create digitally, they say. “So he [Coppola] spends literally half of a day on what could have been done in 10 minutes.”

“We were all aware that we were participating in what might be a really sad finish to his career,” says a crew member. But some of them felt “he was just so unpleasant toward a lot of the people who were trying to help facilitate the process and help make the movie better”.

Several sources also felt that Coppola could be “old school” in his behaviour around women. He allegedly pulled women to sit on his lap, for example. And during one bacchanalian nightclub scene being shot for the film, witnesses say, Coppola came on to the set and tried to kiss some of the topless and scantily clad female extras. He apparently claimed he was “trying to get them in the mood”.

Things came to a head in December 2022, roughly halfway through the 16-week shoot, when most of the visual effects and art teams were either fired or quit. “I think he had to work quite hard to then figure out how to replace them,” says Figgis. “I think he just wanted to liberate himself while he was shooting. So he didn’t have to wait for stuff, and then he’d say ‘Oh, I’ll fix it later. I’ll fix it in post – which I guess he’s done.”

The virtual “volume” was abandoned in favour of more traditional “green screen” technology”, according to one source: “His dig at us was always, ‘I don’t want to make a Marvel movie,’ but at the end of the day, that’s what he ended up shooting.”

In response to comments about Coppola’s on-set behaviour, the executive co-producer Darren Demetre stated: “I have known and worked with Francis and his family for over 35 years. As one of the first assistant directors and an executive producer on his new epic, Megalopolis, I helped oversee and advise the production and ran the second unit. Francis successfully produced and directed an enormous independent film, making all the difficult decisions to ensure it was delivered on time and on budget, while remaining true to his creative vision. There were two days when we shot a celebratory Studio 54-esque club scene where Francis walked around the set to establish the spirit of the scene by giving kind hugs and kisses on the cheek to the cast and background players. It was his way to help inspire and establish the club atmosphere, which was so important to the film. I was never aware of any complaints of harassment or ill behaviour during the course of the project.”

During the time he was shooting Megalopolis, Coppola was also contending with the fact that his wife, Eleanor, had become ill. She was on set and location during the making of the film “until her illness prevented her from being there”, a spokesperson says. She died last month.

Early reactions to Megalopolis have been mixed. After a private screening in Los Angeles last month, one executive described it as “bathorsehocky crazy”. Another told reporters: “There is just no way to position this movie.” A third said: “It’s so not good, and it was so sad watching it … This is not how Coppola should end his directing career.” Shortly before its Cannes premiere, the film was acquired by distributors in the major European markets.

Others, however, were fulsome in their praise. “I feel I was a part of history. Megalopolis is a brilliant, visionary masterpiece,” said the director Gregory Nava after the screening. “I was so overwhelmed that I couldn’t do anything for the rest of the day.” An anonymous viewer at a London screening went even further: “This film is like Einstein and relativity in 1905, Picasso and Guernica in 1937 – it’s a date in the history of cinema.”

None of this will be new to Coppola: despite reports of on-set chaos and predictions of doom, Apocalypse Now won the Palme d’Or at Cannes in 1979, though it would not be regarded as a classic until a decade later. “Francis has always had this reputation for being ahead of his time,” says Beggs. “He’s laughed at and tolerated with good humour, and then, 10 or 15 years later, people are saying: ‘The guy knew what was going to happen.’”

Despite its long and difficult gestation, Megalopolis’s themes could still resonate. “It takes the premise that the future … is being determined today, by the interests that are vying for control,” Coppola told an interviewer in 1999. “We already know what happened to Rome. Rome became a fascist empire. Is that what we’re going to become?”

Whatever the outcome, Coppola can at least take personal satisfaction in having achieved his lifelong goal, against all expectations and obstacles. Perhaps the thought of making a horsehockey, embarrassing, pompous film is less frightening than that of never making it at all. When I interviewed him in 2010, he told me: “I don’t think things through; I feel them through. And I know that half the time I might not land right, and maybe there’s a pleasure in that, but in my life I have to say, that’s served me well. When you’re this old guy dying, you don’t wanna say: ‘I wish I had done that and that.’ In my case, I did it. I did all the things other people would just regret that they didn’t try. Because, in the end, you die. You don’t get any award for just being conservative.”

lymond · May 14, 2024

I watched a little Irish movie last night called Sing Street (NETFLIX). About a teen who starts a band in the '80s to impress a girl. The movie was really enjoyable, mostly upbeat, light, and with a tight script. Kind of a bit of a mix of The Commitments, a John Hugh's joint, and, ofc, Irishness. It actually has a few familiar faces. The girl I did not recognize at first but it turns out she's a Brit/American actress that I've seen in several things like "Bohemian Rhapsody" - quite an established actress really and very pretty. The dude who plays the kid's older brother is probably the best thing in the movie - turns out he was in "The Peripheral" - he gives off a bit of a Seth Rogan vibe. Anyway, you got some original music for the band, plus some old '80s new wave classics mainly, but ya gotta love a movie that actually opens up with a Motorhead diddy. I enjoyed most the interactions with the brother, the kid and the girl, and the music making process. The original tunes are quite catchy too. The very end is a bit cheesy and over the top, but not sure what else they would do ..ha

Comrade Ceasefire · May 14, 2024

Operation Mincemeat 4/10
Mr. Darcy and Tom from Spooks stiffen their upper lips to breaking point but can't save a ripping yarn from becoming tedious and boring by the end of the movie.

It just made me wish that it was part of a long series of Cryptonomicon. (I'd love a very long series of The Baroque Cycle too!)

Fippy · May 14, 2024

@BenitoChavez you need a refresher for The Terminator?
No..nope..you really do not don't you. But if you do..I'll be back.

Hero is melodramatic but really bittersweet, and if you like colors..who doesn't like colors

9/10 for me.

EgonSpengler · May 14, 2024

BenitoChavez said:
Godzilla (2014) - Not much to this movie. Simple storyline, the characters were pretty bland other than Bryan Cranston's who seemed like he really gave it his all. Godzilla isn't even the main monster and is only on screen for like 20 minutes most of which is watching his spiky back as he swims. The CGI uses a lot of fog/dust/darkness to cover stuff up and make it hard to see.

I thought they made a critical error in...

Spoiler :

Kong: Skull Island also (2017) wasn't bad, but after that the American Godzilla franchise cruises off a cliff. They didn't even hang on to Taylor-Johnson, making that script decision in the first movie all the more mystifying. I haven't seen Godzilla x Kong (2024) but I have no reason to think it's any better than the previous two. Monarch: Legacy of Monsters (2023) on Apple TV+ was pretty good, though. Other than knowing what Hollow Earth is in the context of this story, and you could just Google that, you don't need to have seen the other movies to watch Monarch.

Synobun said:
Awake. 7/10. I liked this more than I expected to. It's your standard apocalyptic "ooo something happened to human biology" plot with cheesy acting. But it was kind of fun.

Same. I only watched it because I was tired and Gina Rodriquez is cute, but it turned out to be a'ight.

Fippy said:
Hero is melodramatic but really bittersweet, and if you like colors..who doesn't like colors
9/10 for me.

Crouching Tiger, Hidden Dragon (2000) got a lot more attention in the US, maybe just because it was first, but I remember liking Hero more. I recommend House of Flying Daggers (2004) too, by the same director as Hero, Zhang Yimou. (Did they really come out a couple of months apart? I don't remember that.) Zhang has done a lot of good movies, actually, but I think most of them are dramas. I noticed the other day that The Great Wall (2017) with Matt Damon is on Netflix, but I've been scared to watch it. (Although I noticed that Pedro Pascal is in it. I didn't know who he was in 2017, but now, I think he ticks a movie up one notch for me.)

Birdjaguar · May 14, 2024

EgonSpengler said:
Crouching Tiger, Hidden Dragon (2000) got a lot more attention in the US, maybe just because it was first, but I remember liking Hero more. I recommend House of Flying Daggers (2004) too, by the same director as Hero, Zhang Yimou. (Did they really come out a couple of months apart? I don't remember that.) Zhang has done a lot of good movies, actually, but I think most of them are dramas. I noticed the other day that The Great Wall (2017) with Matt Damon is on Netflix, but I've been scared to watch it. (Although I noticed that Pedro Pascal is in it. I didn't know who he was in 2017, but now, I think he ticks a movie up one notch for me.)

Great movies.

BenitoChavez · May 14, 2024

Fippy said:
@BenitoChavez you need a refresher for The Terminator?
No..nope..you really do not don't you. But if you do..I'll be back.

I really do. I tried rewatching it a year or two ago and couldn't get past the first scene.I know it's a classic and all but I get 80s shock sometimes. The music, the special effects, the hair, it's all a bit much for me. I can't believe that decade actually happened sometimes. I remember more about T2 and 3 than the first one. Haven't seen the rest but they seem of dubious quality.

EgonSpengler said:
I thought they made a critical error in...

Spoiler :

killing Bryan Cranston instead of Aaron Taylor-Johnson. They would've had to rearrange some of the logistics of the main character's travels from one disaster to another, and Cranston's character couldn't have participated in the HALO jump, which was a cool scene, but writers are clever. They could figure it out.

Kong: Skull Island also (2017) wasn't bad, but after that the American Godzilla franchise cruises off a cliff. They didn't even hang on to Taylor-Johnson, making that script decision in the first movie all the more mystifying. I haven't seen Godzilla x Kong (2024) but I have no reason to think it's any better than the previous two. Monarch: Legacy of Monsters (2023) on Apple TV+ was pretty good, though. Other than knowing what Hollow Earth is in the context of this story, and you could just Google that, you don't need to have seen the other movies to watch Monarch.

Yeah Skull Island was enjoyable. I also saw Godzilla vs Kong because it came out straight on ~~HBO~~ Max. It can only be described as "Big monkey punches big lizard. Stuff goes boom." which was about what I was expecting from it. Monarch did look a little interesting to me. Ok, Anna Sawai looked interesting :love:

There's other stuff on Apple TV that looks alright too so I'll give it a watch at some point once.

Kyriakos · May 14, 2024

Watching Mars Express (french animated film). It's pretty cool.

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‘Has this guy ever made a movie before?’ Francis Ford Coppola’s 40-year battle to film Megalopolis​

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‘Has this guy ever made a movie before?’ Francis Ford Coppola’s 40-year battle to film Megalopolis