Cloud Atlas was the best thing they’ve done.
Cloud Atlas was the best thing they’ve done.
The only part of that movie I enjoyed was the London 2012 section with the nursing home. I wish that had been it’s own movie. The rest was pretty disposable.
Nah, of that movie the least entertaining was the 70’s detective mystery one.
But the movie as a whole does strike some incredibly harmonious moments I thought.
Made the entire exercise worth it.
Just watched Take Shelter, which is now my favorite Jeff Nichols film (before that it was Mud; haven’t seen Loving). It’s a very moving film about mental illness and the importance of communication between people, especially within families. Michael Shannon and Jessica Chastain anchor the whole thing as a husband and wife dealing with the husband’s nightmares, or premonitions, of a world-ending storm. Shea Whigham is also really good in a supporting role.
Ehh… I don’t even remember much of it, which speaks to how “great” it was
I just remember it was okay-ish, but quite boring and overly long. But no, no way in hell it’s better than the 1st Matrix… or Bound for that matter, Bound is a GREAT movie…
It’s an amazing movie.
How did you interpret the ending?
I think the storm is really happening. But whether or not it really is, Curtis and Samantha trust each other now and have a chance of surviving.
Can I recommend Midnight Special if you haven’t seen it?
Oh yeah, it’s great. I’ve seen all his films except Loving, and they all range from very good to great.
Watching Take Shelter reminded me of how great Midnight Special was at evoking a 70s/80s sci-fi adventure movie feel, and it made me think Nichols could do something really interesting with a Star Wars film. I’d have preferred if the Star Wars producers took a chance like they did on Rian Johnson and gave Episode 9 to another somewhat under the radar director like Nichols.
Exactly. What I really liked about that movie was something that you don’t see too often in movies. It had (if this isn’t too lofty a phrase) a sense of wonder about it.
No, I think that’s the perfect word for it. For a pretty dark tale, it was also an uplifting one.
The storm really happening didn’t work for me, because then that’d go against what the entire movie really is about, which is mental illness and not a mystery kind of thing where you’re always wondering if it’s all real and all that. On the other hand, the way it was shot, it couldn’t be one of his delusions, either.
So discussing it with the friend I’d seen it with, we developed a third reading that makes most sense to me: the last scene leaves the literal and actually is a metaphor. The storm was always a symbol for the illness threatening to destroy this family, and now we are seeing this: the storm may come again, the illness may raise its head again, but it can’t destroy them because they stand together. Which also explains why in that last shot, the wife is standing in front of him, sheltering him from the storm.
I think it works like Frailty. A sort of Job tale.
Anyone remember Frailty? I liked that a lot.
1922 is yet another good adaptation of a Stephen King story on Netflix. I think there are probably a lot more pretty bad adaptations of King’s work than there are actually good ones, but it seems going for the less overtly supernatural stories always have a better chance. Not that 1922 is devoid of supernatural elements, but it’s really about the psychological disintegration of the protagonist with the horror possibly being entirely in his mind (except for one moment).
Thomas Jane is possibly the best actor for a Stephen King movie because he can be pretty terrible or pretty great just like King’s films and television shows. Even though 1922 is basically something like an extended episode of Alfred Hitchcock Presents or Boris Karloff’s Thriller, it certainly keeps your attention by sticking to the fundamental story.
That’s a really cool reading of it. I think it also works as a story about mental illness if the storm is real, though. It could be that his mental illness made him susceptible to visions. And prophetic visions of doom would take the same toll on a person as mental illness, even if proved real.
Beyond the questions of whether the storm is real or not, and if that truly makes it a story about mental illness, I think the movie’s more about a man trying to conceal the storm inside him, and about the deepening of connection that comes with revealing that suffering to loved ones. The real world analog to that is mental illness. Even without the final scene, Curtis and Samantha’s relationship is stronger after Curtis opened up to her and made himself trust her. In any reading of the film, that theme of communication comes through.
I’m watching Quiz Show again. I love this movie.
Watched the last three episodes of Halt and Catch Fire. I’ve loved this show, and I’ll miss it. But I’m so glad it went out on a high note.
The whole thing was uplifting and also quite moving, especially the scenes with Donna, Joe and Cameron going through Gordon’s stuff.
It’s very satisfying to see how these characters have evolved since the first season. I’m sad I won’t see them again. But I like where they’ve been left.
My hope for this show is that it gets a bigger audience know that it’s a complete story. It definitely deserves more attention.
That’s a brilliant way of looking at it Christian and at the time I never really thought of it like that.
I just kinda looked at it at the surface level - which did work for me at the time.
I think I’ll go back and watch it again.
I also like that you used the word ‘may’ rather than ‘will’.
having had a heavier than ever, almost unbearable bout of depression around 18 months ago, I’ve hated reading certain books, for example by Ruby Wax, that makes me feel like it’s inevitable I’m going to have to go thru that again - (whereas in my head I feel that I’ve gained the tools to stop it before it goes that far) - when I really really don’t want to.
I’ve had a few drinks so I’m probably over thinking this, but the word ‘may’ is appreciated here.
Yeah, I loved Frailty, although it’s been a while now - another movie that im due a rewatch on.
Towards the halfway mark / two-thirds mark I thought this might be heading for the same fate as John Wick 2, that of being a weak, nasty sequel, but it managed to turn it around.
Walker’s absence is, despite the ensemble’s best efforts, noticeable. Nor is Scott Eastwood that good a replacement. (Harsh as it sounds I think he’d be better out of the acting game for, unfair as it is, he’ll always get compared to his dad.)
The story for this ain’t great and it isn’t helped by Cipher getting away at the end to return in Fast 9 or Fast 10, as that undermines the finale. She was also a pretty crappy villain, droning on monotonously about this and that and wittering on about choices while denying her own the entire time.
Where it succeeds is in mad, inspired big action setpieces that are utterly ludicrous but very fun.
It’s an OK sequel, but I’m hoping Fast 9 is better.