acintya
Legend
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What was the last movie you watched?
- Thread starter jamesblakefan#1
- Start date
Yes we have, plenty but Joaquin Phoenix is a difference maker that brings a new meaning to the character just like Christian Bale singled-handedly took Batman character into the next level in Dark Knight.
NonP
Legend
I know I just said I'd be phasing out my movie reviews here but I've already shared this with Moose so what the hey....
My faves of 2020 so far (by date of DC release as usual), in rough order:
Portrait of a Lady on Fire* (Sciamma)
Just 6.5 (Roustayi)
Invisible Life/The Invisible Life of Eurídice Gusmão (Aïnouz)
Mémorable (Bruno Collet - yes the Oscar-nominated short)
Created Equal: Clarence Thomas in His Own Words (Michael Pack)
*The film did have two limited screenings at the AFI Silver in December, but it went wide this year and, well, I just saw it last weekend.
That last entry may be surprising, and I must say a certain curiosity factor did play a role in my decision not to pass up this chance to see and hear the famously reticent Supreme Court justice on the big screen, but it's probably more aptly described as the latest casualty of critics' seemingly annual ritual to bash a deserving release near the beginning/end of the year for its refusal to toe the PC line du jour. In fact it's suffered an even worse fate than its predecessors which at least had a wide release to get widely panned, whereas this documentary had its only screenings at one theater (AMC Georgetown 14, if you care) in the entire DC area, and for all of two weeks to boot. (In other words it didn't even get the Fathom Events treatment!)
And that's a shame because if this Clarence Thomas documentary is "partisan hack[ery]" or "artless political agitprop" (to quote from one of the more intemperate reviews) it's clearly not more so than 2018's RBG, to cite just one clear recent counterexample. If anything the latter is arguably worse in that it recruits the venerable feminist icon's admirers to sing nothing but her praises while the former has only the justice to speak for himself with limited interruptions from his (admittedly crazy, though not here) wife. And say what you will about Thomas but his socioeconomic background and ideological odyssey are simply more fascinating than Ginsburg's: growing up in a poor single-parent black household where he was later raised by his strict and illiterate yet wise grandfather, studying for Catholic priesthood before leaving the seminary for good upon realizing there was no promising future awaiting a black man in this white-dominant hierarchy, and joining the Black Panthers only to take a sharp turn right for the rest of his life when he saw (in his estimation) their destructive impact firsthand. At the very least this soliloquy punctuated by judiciously recreated flashbacks is more gripping and effective cinema (yes, I understand its detractors would prefer the term "propaganda") than the tried-and-true formula of RBG, and Thomas even sounds credible when he recounts how he was going through everything in his head regarding Anita Hill's accusations and wondering whether he might have indeed said the wrong things, but later relieved upon hearing her testimony because he was sure he didn't do the things she had accused him of.
Mind you I still think Thomas did behave inappropriately towards Hill, unintentionally or not, nor do I generally care for his "originalist" jurisprudence (his cogent dissent against eminent domain in Kelo notwithstanding), but the inordinately harsh reaction to this film reminds me so much of those earlier instances of knee-jerk political correctness that I can't help but think the same forces are at work here. Me, I found the doc engrossing (so did WaPo's Ann Hornaday, one of its few honest critics) and suspect most of the audience felt the same way, considering its opening weekend run seemed to be nearly or completely sold out (remember, this was in DC where the anti-Trump sentiment runs high) and even in that weekend's Sunday evening screening the crowd was still sizable and enthusiastic. If there's a nakedly partisan film that nonetheless earns the label "must-see," this is it:
What about the other two faves I haven't reviewed yet? I just noticed that I happened to see Invisible Life, winner of last year's Prix un certain regard, on the first Saturday of the year, which is enough to make it one of my best b-days ever as this intoxicating adaptation of Brazilian writer Martha Batalha's eponymous (with the longer title) 2016 novel was my introduction to her countryman Karim Aïnouz who is clearly a talent to watch out for. It starts on rather shaky ground: the two seemingly inseparable Gusmão sisters harbor dreams of their own, Eurídice (Carol Duarte) of becoming a world-class concert pianist and Guida (Julia Stockler) of living a life of adventure with her true love. Nothing groundbreaking so far, and the music played by Eurídice - she first serenades us with Schubert's warhorse "Auf dem Wasser zu singen," one of his most inspired songs but far from his most technically demanding, and plays Chopin's 2-minute Étude Op. 10, No. 9 for her Vienna Conservatory audition - is just as shopworn not to mention fanciful (I've been out of touch with my former conservatory friends but it's safe to say they still expect more substantial repertoire at auditions). And of course they're torn asunder by the patriarchal Brazilian bourgeoisie and the Sirkian melodrama of the two so-near-yet-so-far sisters never lets up... but it slowly grows on you, and it's to Aïnouz's great credit that I was half wrong to guess this is a film both written and directed by a woman. Further credit must go to the cast who could hardly be bettered across the board, to cinematographer Hélène Louvart who seems unable to set a foot wrong (Beach Rats, Happy as Lazzaro and Petra among her most recent efforts), and to composer Benedikt Schiefer whose ruminative score never overwhelms the already heightened tragedy of these two resilient women's loud and quiet disappointments that dare not assert themselves for the preservation of polite society.
I missed several chances to see Corpus Christi last year (coming to theaters in a few weeks, I believe) but for my money this export from Brazil should have replaced either Almodóvar's Pain and Glory or Ladj Ly's Les Misérables (fine as the latter is) as one of this year's International Feature Oscar nominees. And it was picked up by Amazon so look out for it on Prime later this year if you can't find it now at your local theater:
My faves of 2020 so far (by date of DC release as usual), in rough order:
Portrait of a Lady on Fire* (Sciamma)
Just 6.5 (Roustayi)
Invisible Life/The Invisible Life of Eurídice Gusmão (Aïnouz)
Mémorable (Bruno Collet - yes the Oscar-nominated short)
Created Equal: Clarence Thomas in His Own Words (Michael Pack)
*The film did have two limited screenings at the AFI Silver in December, but it went wide this year and, well, I just saw it last weekend.
That last entry may be surprising, and I must say a certain curiosity factor did play a role in my decision not to pass up this chance to see and hear the famously reticent Supreme Court justice on the big screen, but it's probably more aptly described as the latest casualty of critics' seemingly annual ritual to bash a deserving release near the beginning/end of the year for its refusal to toe the PC line du jour. In fact it's suffered an even worse fate than its predecessors which at least had a wide release to get widely panned, whereas this documentary had its only screenings at one theater (AMC Georgetown 14, if you care) in the entire DC area, and for all of two weeks to boot. (In other words it didn't even get the Fathom Events treatment!)
And that's a shame because if this Clarence Thomas documentary is "partisan hack[ery]" or "artless political agitprop" (to quote from one of the more intemperate reviews) it's clearly not more so than 2018's RBG, to cite just one clear recent counterexample. If anything the latter is arguably worse in that it recruits the venerable feminist icon's admirers to sing nothing but her praises while the former has only the justice to speak for himself with limited interruptions from his (admittedly crazy, though not here) wife. And say what you will about Thomas but his socioeconomic background and ideological odyssey are simply more fascinating than Ginsburg's: growing up in a poor single-parent black household where he was later raised by his strict and illiterate yet wise grandfather, studying for Catholic priesthood before leaving the seminary for good upon realizing there was no promising future awaiting a black man in this white-dominant hierarchy, and joining the Black Panthers only to take a sharp turn right for the rest of his life when he saw (in his estimation) their destructive impact firsthand. At the very least this soliloquy punctuated by judiciously recreated flashbacks is more gripping and effective cinema (yes, I understand its detractors would prefer the term "propaganda") than the tried-and-true formula of RBG, and Thomas even sounds credible when he recounts how he was going through everything in his head regarding Anita Hill's accusations and wondering whether he might have indeed said the wrong things, but later relieved upon hearing her testimony because he was sure he didn't do the things she had accused him of.
Mind you I still think Thomas did behave inappropriately towards Hill, unintentionally or not, nor do I generally care for his "originalist" jurisprudence (his cogent dissent against eminent domain in Kelo notwithstanding), but the inordinately harsh reaction to this film reminds me so much of those earlier instances of knee-jerk political correctness that I can't help but think the same forces are at work here. Me, I found the doc engrossing (so did WaPo's Ann Hornaday, one of its few honest critics) and suspect most of the audience felt the same way, considering its opening weekend run seemed to be nearly or completely sold out (remember, this was in DC where the anti-Trump sentiment runs high) and even in that weekend's Sunday evening screening the crowd was still sizable and enthusiastic. If there's a nakedly partisan film that nonetheless earns the label "must-see," this is it:
What about the other two faves I haven't reviewed yet? I just noticed that I happened to see Invisible Life, winner of last year's Prix un certain regard, on the first Saturday of the year, which is enough to make it one of my best b-days ever as this intoxicating adaptation of Brazilian writer Martha Batalha's eponymous (with the longer title) 2016 novel was my introduction to her countryman Karim Aïnouz who is clearly a talent to watch out for. It starts on rather shaky ground: the two seemingly inseparable Gusmão sisters harbor dreams of their own, Eurídice (Carol Duarte) of becoming a world-class concert pianist and Guida (Julia Stockler) of living a life of adventure with her true love. Nothing groundbreaking so far, and the music played by Eurídice - she first serenades us with Schubert's warhorse "Auf dem Wasser zu singen," one of his most inspired songs but far from his most technically demanding, and plays Chopin's 2-minute Étude Op. 10, No. 9 for her Vienna Conservatory audition - is just as shopworn not to mention fanciful (I've been out of touch with my former conservatory friends but it's safe to say they still expect more substantial repertoire at auditions). And of course they're torn asunder by the patriarchal Brazilian bourgeoisie and the Sirkian melodrama of the two so-near-yet-so-far sisters never lets up... but it slowly grows on you, and it's to Aïnouz's great credit that I was half wrong to guess this is a film both written and directed by a woman. Further credit must go to the cast who could hardly be bettered across the board, to cinematographer Hélène Louvart who seems unable to set a foot wrong (Beach Rats, Happy as Lazzaro and Petra among her most recent efforts), and to composer Benedikt Schiefer whose ruminative score never overwhelms the already heightened tragedy of these two resilient women's loud and quiet disappointments that dare not assert themselves for the preservation of polite society.
I missed several chances to see Corpus Christi last year (coming to theaters in a few weeks, I believe) but for my money this export from Brazil should have replaced either Almodóvar's Pain and Glory or Ladj Ly's Les Misérables (fine as the latter is) as one of this year's International Feature Oscar nominees. And it was picked up by Amazon so look out for it on Prime later this year if you can't find it now at your local theater:
NonP
Legend
As for the Roustayi....
I was referring less to the facts of the corporate malfeasance than to Haynes' response to it. Let me elaborate with a comparison with Saeed Roustayi's own feature, which is the story of a famous drug dealer who meets his end when his transactional relationships betray him. Roustayi does a good job of pinpointing the issues - the endemic corruption of Iranian law enforcement, inhumane overcrowding of prisons, helplessness of current drug laws, etc. - and based on this film alone I can tell he's got a way with his actors. But to me he takes the easy way out by having detective Samad (Payman Maadi) quit the police force following the protagonist's demise, which is not only less than fully convincing (this is the same police officer who had been flirting with bribes throughout the movie) but a literal cop-out not only on the character's part but also on the part of the audience who is led to believe this is the way things are and how it will stay. In other words Roustayi is more Hollywood and Asghar Farhadi than Abbas Kiarostami and Jafar Panahi, which is to say he's not yet ready to challenge the latter two illustrious countrymen of his.
Haynes doesn't quite fall into the same trap. As you may recall DuPont screws Robert Bilott and its numerous victims near the end of the film by reneging on its agreement to pay, and that's when he (Mark Ruffalo) dramatically curses the "rigged" system and insists on good old-fashioned American individualism to save us. An Adam McKay would've left it at that (probably tempered with his frat-boy humor), or a Farrelly would've glossed over such harsh realities altogether by focusing on a more feel-good (and less common) story, or a master craftsman like Spielberg could've gone either way, but Haynes doesn't stop there and follows Bilott's journey of representing each defendant vs. DuPont until the corporate giant is forced to settle for $671 million.
That's what I meant by Haynes' refusal to buy into Hollywood's old cynicism that is often mistaken for depth regarding American society. Now don't get me wrong, Dark Waters is a classic whistleblower story and he's acknowledged it as such, and again I could've done without Ruffalo's lecture at the restaurant, but its faithful portrayal of unregulated capitalism without descending into reactionary fatalism makes it a cut above most examples of its genre and that's why I'd probably rank it above Just 6.5:
One of the better Palme d'Or winners of late, yes, and it's a shame Audiard took the bait of going Hollywood so soon which led to the godawful Sisters Brothers. (I still remember wondering in the theater if this was indeed the same guy who made Dheepan.)
That's kept me from checking out the rest of his stuff but maybe I should give Rust and Bone a try.
I was referring less to the facts of the corporate malfeasance than to Haynes' response to it. Let me elaborate with a comparison with Saeed Roustayi's own feature, which is the story of a famous drug dealer who meets his end when his transactional relationships betray him. Roustayi does a good job of pinpointing the issues - the endemic corruption of Iranian law enforcement, inhumane overcrowding of prisons, helplessness of current drug laws, etc. - and based on this film alone I can tell he's got a way with his actors. But to me he takes the easy way out by having detective Samad (Payman Maadi) quit the police force following the protagonist's demise, which is not only less than fully convincing (this is the same police officer who had been flirting with bribes throughout the movie) but a literal cop-out not only on the character's part but also on the part of the audience who is led to believe this is the way things are and how it will stay. In other words Roustayi is more Hollywood and Asghar Farhadi than Abbas Kiarostami and Jafar Panahi, which is to say he's not yet ready to challenge the latter two illustrious countrymen of his.
Haynes doesn't quite fall into the same trap. As you may recall DuPont screws Robert Bilott and its numerous victims near the end of the film by reneging on its agreement to pay, and that's when he (Mark Ruffalo) dramatically curses the "rigged" system and insists on good old-fashioned American individualism to save us. An Adam McKay would've left it at that (probably tempered with his frat-boy humor), or a Farrelly would've glossed over such harsh realities altogether by focusing on a more feel-good (and less common) story, or a master craftsman like Spielberg could've gone either way, but Haynes doesn't stop there and follows Bilott's journey of representing each defendant vs. DuPont until the corporate giant is forced to settle for $671 million.
That's what I meant by Haynes' refusal to buy into Hollywood's old cynicism that is often mistaken for depth regarding American society. Now don't get me wrong, Dark Waters is a classic whistleblower story and he's acknowledged it as such, and again I could've done without Ruffalo's lecture at the restaurant, but its faithful portrayal of unregulated capitalism without descending into reactionary fatalism makes it a cut above most examples of its genre and that's why I'd probably rank it above Just 6.5:
One of the better Palme d'Or winners of late, yes, and it's a shame Audiard took the bait of going Hollywood so soon which led to the godawful Sisters Brothers. (I still remember wondering in the theater if this was indeed the same guy who made Dheepan.)
That's kept me from checking out the rest of his stuff but maybe I should give Rust and Bone a try.
Dilexson
Hall of Fame
Pleasant surprise to hear my mother toungue in a french film.
Adding to the top of my watchlist!
Dilexson
Hall of Fame
Watched it last week. Amazing film. Didn't see a whole lot of films last year but can't see anything else topping this one.
Man, lot of good films come out of south Korea. Easily my favourite 'foreign film' source after Hollywood.
Sudacafan
Bionic Poster
Parasite was the first and only South Korean film I’ve seen.
Can you recommend others?
Tarkovsky
Semi-Pro
Kim Ki-duk Spring, Summer, Autumn, Winter… and Spring [from 2013]
Park Chan-wook Oldboy [2006]
Sang-soo Hong is considered one of the best, but I haven't seen any of his films yet.
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Mike Bulgakov
G.O.A.T.
"Daytime Drinking" (Directed by Noh Young-seok)
"Train to Busan" (Directed by Yeon Sang-ho)
"The Host" & "Mother" (Directed by Bong Joon Ho)
Azure
G.O.A.T.
Thank you! Made it clear to me!
Dilexson
Hall of Fame
Oldeuboi is a must see for anyone. That was my introduction to south korean films. I loved 'Train to Busan' as well. Nice take on Zombie horror.
Recently i watched 'The Wailing' , pretty good suspense with horror theme. I'm sure there are a lot more.
@Sudacafan check out this list, most of the top rated ones are nice watch.
https://www.imdb.com/list/ls0429667...rt=user_rating,desc&st_dt=&mode=detail&page=1
NonP
Legend
Kim and Park belong to the hit-'em-where-it-hurts school of South Korean cinema, a dubious lineage that insists on shocking the audience with sensory overloads which are supposed to open up our eyes to things previously unseen. Of course we've got our own trailblazers as diverse as Tarantino, Peele and Oppenheimer who believe in their bloodthirsty movement, but it gives me no pleasure to say SK does seem to have every other country beat in this cinematic version of disaster capitalism.
I'm not very familiar with Hong's oeuvre myself (I happened to see Grass in Seoul during my Xmas visit in 2018, though it did receive one or two screenings at the AFI Silver last year), but he seems awfully fond of his schtick of setting up this ever-present wall of vague misunderstanding and simmering resentment that's somehow supposed to shine some light on how we communicate with each other (it's usually unclear if the conflicts that arise from said miscommunication are intentional or not) but instead ends up telling us not much of anything. And for me that makes his films chores to get through, despite their oft-truncated length (several of his features barely last an hour), and this (American) audience I saw Claire's Camera with seemed to agree with their chuckles at its deliberately pedestrian ending. (Funnily enough the only other recent film I can think of that drew similar chuckles at its head-scratching ending is The Dinner which was also released in 2017, though Hong's feature didn't hit the American indie circuit until the year after.)
Hong's style has been described as Rohmeresque but that's a misleading analogy as Rohmer's energetic gabfests make no bones about where the characters stand on their pet issues whereas Hong's are deliberately obtuse to the point of nihilism and virtually devoid of humor. For one film that may be a laudable ambition, for two or three it's a pretension, for an entire career it's an obsession, and Hong seems to have turned that obsession into an arthouse brand with a small yet dedicated following but it really is a brand that fails to edify once you get past the novelty.
Noh is a completely new name to me. Thx for the mention.
As you might have noticed I'm not sold on Bong quite yet, but yes, The Host is probably the best place to get acquainted with his work.
Thought the nonstop action of Train to Busan was too much (I actually saw it with an old Korean bud and he felt the same), which brings me to....
I could've done without the silly ending of The Wailing, but maybe Na really was just trying to make a horror film.
Think you'll also dig Kim Jee-woon's The Age of Shadows. It's over 2 hrs long and might come across as overly patriotic if not jingoistic, but its flashy set pieces (including its biggest one on a train - SKs seem to have a thing for them) make up for it:
Rafaisdabest
Hall of Fame
Maze Runner: The Death Cure. Never get sick of watching this blockbuster movie!
Bagumbawalla
Talk Tennis Guru
Finally saw Parasite- for all the "hype", I was expecting a much better movie.
The initial premise of a family inveigling their way into the home of a wealthy couple
seemed interesting and I was interested in what direction the film would take from there.
Unfortunately, it devolved into (well, I won't say- for those who want to waste their time
with the ending).
The initial premise of a family inveigling their way into the home of a wealthy couple
seemed interesting and I was interested in what direction the film would take from there.
Unfortunately, it devolved into (well, I won't say- for those who want to waste their time
with the ending).
Fedinkum
Legend
Rewatched Nolan’s Prestige (2006) again tonight and it hit me with a few more nuggets...and my mind went inception mode for a split second.
P.s. Sorry if these nuggets are actually well known.
1. When Bale was asked if he knew which knot he tied, he said he didn’t know. He was really telling the truth because it was his brother who tied the deadly knot. My first viewing thought he was too shocked to remember or he was trying to cover for himself.
2. The wife’s death was not a suicide, she was murdered by the other brother who found out she suspected his secret. He killed her before she had a chance to meet and tell all to ScarJo’s character. That was mind blowing!!
2. The wife’s death was not a suicide, she was murdered by the other brother who found out she suspected his secret. He killed her before she had a chance to meet and tell all to ScarJo’s character. That was mind blowing!!
P.s. Sorry if these nuggets are actually well known.
Sentinel
Bionic Poster
Nice family movie.
Those Calloways - Wikipedia
Sadly, the boy Bucky died at the age of 30 in a car accident. The father, Cam Calloway, committed suicide at the age of 75 (Brian Keith), and the mother, Vera Miles is 90, and acted in various Hitchcock movies including Psycho.
Sentinel
Bionic Poster
They Call Me Mister Tibbs! - 1970
So-so film about Sidney Poitier playing a cop who has to find out who murdered a call-girl.
Nice foot-chase scene that would have taken the wind out of any Olympic middle distance runner
Our tennis players should train with these guys
en.wikipedia.org
!
So-so film about Sidney Poitier playing a cop who has to find out who murdered a call-girl.
Nice foot-chase scene that would have taken the wind out of any Olympic middle distance runner
Our tennis players should train with these guys
They Call Me Mister Tibbs! - Wikipedia
en.wikipedia.org
Sentinel
Bionic Poster
Is this it? French. (All waiting for Saboosh to arrive
)
Azure
G.O.A.T.
Yeah - I think you can give it a pass. Not your kind.Is this it? French. (All waiting for Saboosh to arrive
Crisstti
Legend
Thee second one: WHAT? is it just a theory? now I'm gonna have to watch it again.Rewatched Nolan’s Prestige (2006) again tonight and it hit me with a few more nuggets...and my mind went inception mode for a split second.
1. When Bale was asked if he knew which knot he tied, he said he didn’t know. He was really telling the truth because it was his brother who tied the deadly knot. My first viewing thought he was too shocked to remember or he was trying to cover for himself.
2. The wife’s death was not a suicide, she was murdered by the other brother who found out she suspected his secret. He killed her before she had a chance to meet and tell all to ScarJo’s character. That was mind blowing!!
P.s. Sorry if these nuggets are actually well known.
The IMDb forums (RIP) had great discussions on this movie. Still my fav by Nolan.
Fedinkum
Legend
There were a couple of scenes and dialogues, very subtle but they definitely allure to my nugget. Tell me what you think after your rewatch!
Azure
G.O.A.T.
Memories of Murder (2003)
https://www.imdb.com/title/tt0353969/
Entertaining film from Bong Joon Ho - better than Parasite IMO.
https://www.imdb.com/title/tt0353969/
Entertaining film from Bong Joon Ho - better than Parasite IMO.
Tennease
Legend
I watched The King's Speech two days ago.
Great to see an Aussie peasant befriended King George and called him Bertie! LOL!
And that first war speech was epic!!!
Bertie: "For the second time in the lives of most of us..... ......we are.....at.....
Lionel: (miming) "Fck Fck fck Fck fck Fck"
Bertie: ".....at war".
Poisoned Slice
Bionic Poster
The Fugitive. (1993)
Dr. Kimble is on the run for a crime he didn't commit.
Samuel Gerard doesn't care if Kimble is innocent. What an absolute Richard.
Will there be justice at the end? Of course.
Dr. Kimble is on the run for a crime he didn't commit.
Samuel Gerard doesn't care if Kimble is innocent. What an absolute Richard.
Will there be justice at the end? Of course.
Sentinel
Bionic Poster
I saw this around 2012. I saw several Korean movies back then, and swore to avoid them in future
But yes, this was good. The Yellow Sea was another, it was a total slasher/hacker movie !
Old Boys was another, a classic or cult movie, but today I'd rather forget i saw it. I don't have the stomach for this kind of stuff, no matter how arty. Audition was another one, japanese. These were all on a drive that my bro gave me.
Sentinel
Bionic Poster
Watched a so-so comedy with Rock Hudson and Leslie Caron and Charles Boyer.
A Very Special Favour (1965).
It wasn't bad, really. I did find some moments funny. I was really hoping Boyer would break into a song at some point, like Some Enchanted Evening (South Pacific - 1958).
A Very Special Favour (1965).
It wasn't bad, really. I did find some moments funny. I was really hoping Boyer would break into a song at some point, like Some Enchanted Evening (South Pacific - 1958).
Azure
G.O.A.T.
I watched it because Parasite won the best film this year at the Oscars and wanted to check out the director's other moviesI saw this around 2012. I saw several Korean movies back then, and swore to avoid them in future
But yes, this was good. The Yellow Sea was another, it was a total slasher/hacker movie !
Old Boys was another, a classic or cult movie, but today I'd rather forget i saw it. I don't have the stomach for this kind of stuff, no matter how arty. Audition was another one, japanese. These were all on a drive that my bro gave me.
I looked at the synopsis of Harriet after you mentioned it and had a look at a few reviews as well. I am not sure if I will like it but I might give it a try!
Sentinel
Bionic Poster
I know, the reviews are not too complimentary, but it is historical, and i was quite touched.
MichaelNadal
Bionic Poster
The Invisible Man (2020) and it was epic in the crowded theater with everyone reacting 
Nostradamus
Bionic Poster
What Is this new War of the world in Epix ???? it started out interesting enough but then it sucked in last 2 episodes...
Nostradamus
Bionic Poster
Sentinel
Bionic Poster
The Mountain (1956) - with Spencer Tracy, Robert Wagner (the guy from Hart to Hart).
Could be called "The Old Man and the Mountain" too . Old Spence goes mountain climbing with his kid brother, to check out the crash of a plane and they find a Hindu woman on it, alive.
Stunning sceneries and some nice climbing. But otherwise the story was bit of a letdown. It is based on a novel which is based on the Air India crash of 1950 on Mont Blanc. Sixteen years later there was another Air India crash on almost the same spot.
Could be called "The Old Man and the Mountain" too
. Old Spence goes mountain climbing with his kid brother, to check out the crash of a plane and they find a Hindu woman on it, alive.Stunning sceneries and some nice climbing. But otherwise the story was bit of a letdown. It is based on a novel which is based on the Air India crash of 1950 on Mont Blanc. Sixteen years later there was another Air India crash on almost the same spot.
Azure
G.O.A.T.
Didn't Homi Bhaba die in the plane crash?The Mountain (1956) - with Spencer Tracy, Robert Wagner (the guy from Hart to Hart).
Could be called "The Old Man and the Mountain" too
Stunning sceneries and some nice climbing. But otherwise the story was bit of a letdown. It is based on a novel which is based on the Air India crash of 1950 on Mont Blanc. Sixteen years later there was another Air India crash on almost the same spot.
Harry_Wild
G.O.A.T.
https://en.wikipedia.org/wiki/War_of_the_Worlds_(1988_TV_series)
Maybe it is a remake of the original War Of The Worlds TV series - 1988-2000.
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Sentinel
Bionic Poster
He died in the second one in 1966.
There's even an assassination theory mentioned in wiki. CIA.
Homi J. Bhabha - Wikipedia
Nostradamus
Bionic Poster
https://en.wikipedia.org/wiki/War_of_the_Worlds_(1988_TV_series)
Maybe it is a remake of the original War Of The Worlds TV series - 1988-2000.
Yes it is . and this remake has some major star power.. but it really really sucks
Rafaisdabest
Hall of Fame
Fracture - Anthony Hopkins and Ryan Gosling on Netflix. 8/10. Recommended.
Sentinel
Bionic Poster
House of Strangers 1949.
Edward G Robinson, Susan Hayward
en.m.wikipedia.org
Edward G Robinson, Susan Hayward
House of Strangers - Wikipedia
Sentinel
Bionic Poster
Azure
G.O.A.T.
I like your dp
Bookmarked
Rafaisdabest
Hall of Fame
I like your dp
ok I’m trying to work out what dp means? Thought you were talking about my avatar, now unsure.
Azure
G.O.A.T.
Haha display pic, indeed your avatar!
Sentinel
Bionic Poster
I was just checking out some reviews. They haven't been too kind. But I liked it, was sort of haunting.
It's based on a novel which is sort of autobiographical, so it is based or inspired by a true story.
Some critics are calling it a middle-age version of Before Sunset
Rafaisdabest
Hall of Fame
Thanks. It is a cute Giraffe selfie lol
Sentinel
Bionic Poster
Hope and Glory (1987) - Comedy, War.
Sweet movie. Liked it a lot.
Bill, a young boy living on the outskirts of London experiences the exhilaration of World War II. During this period, Bill learns about sex, death, love, hypocrisy, and the faults of adults as he prowls the ruins of bombed houses.
www.imdb.com
Sweet movie. Liked it a lot.
Bill, a young boy living on the outskirts of London experiences the exhilaration of World War II. During this period, Bill learns about sex, death, love, hypocrisy, and the faults of adults as he prowls the ruins of bombed houses.
Hope and Glory (1987) - IMDb
Directed by John Boorman. With Sarah Miles, David Hayman, Sebastian Rice-Edwards, Geraldine Muir. Bill, a young boy living on the outskirts of London experiences the exhilaration of World War II. During this period, Bill learns about sex, death, love, hypocrisy, and the faults of adults as he...
www.imdb.com
