Talk about FILMS you’ve just seen!
- This topic has 352 replies, 17 voices, and was last updated 3 days, 14 hours ago by
.
-
Posts
-
Just watched THE CORE of John Amiel, basically just for the Christopher Young score
I did that some years ago for the same reason 😉
Never saw THE CORE, but I love Christopher Young’s score for that movie.
Good for you! Enjoy the music. Skip the movie.
THE CORE is a guilty pleasure for me. The adventure and exploration and anticipation in that is something to get lost in. Plus the whole “closed quarters” thing.
First time since the theater in 1992!
I thought it was THE HAND THAT ROCKS THE CRADLE first.
“Sans Mobile Apparent” (“Without Apparent Motive”) – Philippe Labro, 1971
I was so excited to finally get hold of a Blu-ray of this film fifty years after hearing the fantastic Morricone main theme on double LP set “I Film Della Violenza”. No matter that it was Region A – my player can handle it. Or so I thought…
Turns out the replacement player I bought recently with the same model number didn’t have the same multiregion hack of the one that broke.
Of course I suddenly desperately wanted to watch the other region A blurays that I’ve picked up down the years.
After stewing on it for a while, I sent off for a Roxel (who?) multiregion player and hooked it up to a computer monitor in my home office. I have to use headphones but at least can now watch region A blurays, which are all silver age films anyway, so don’t need the bells and whistles of the set up in our living room.
So, the film? Yeah, it was all right.
Ah yes. The eternal region free dilemma. I had a region free Blu-ray too, it stopped working, I got a new one (or rather an old one from 2011) that was not possible to “hack” and now I’m back to square one.
I thought I owned a selection from SANS MOBILE APPARENT, but it was apparently some other title with a similar slant.
Aren’t almost all Blu-rays region free?
I never had a problem with region coded Blu-rays. (Unlike DVDs back in the day.)Yes, sorry, I meant DVD. I use my Blu-ray player for DVDs too. I’ve not yet encountered a region problem for Blu-rays, but then again I only own a handful of them.
At last I managed to watch PROJECT HAIL MARY and I can’t help comparing it to the recently watched THE CORE.
Both films deal with a world end scenario and a scientist’s mission to save the world and eventually get back home even though this is in both cases more likely a one way mission.
THE CORE definitely wins in the score category. In PHM I was sometimes rather annoyed by the music. But even though PHM wasn’t perfect in any way it wins in almost every other aspect over THE CORE. A lot of stuff didn’t make much sense in both movies. But if I judge PROJECT HAIL MARY not against science fiction classics from the 70s and 80s but against these desaster movies from the 90s and 2000s which makes more sense PROJECT HAIL MARY doesn’t need to hide.By the way, in that movie category the all lose against THE ABYSS of course.
But all three movies would have been slightly better, had they been honest in sacrificing the heroes in the end and letting them die at successfully fulfilling their missing. Saving them each time adds a clunky deus ex machina touch that destroyes a little the emotional core of the movie built on the sacrifice.
Maybe, but I’ve grown mushy in my old age. I prefer happy endings now (that’s what she said!). I’ve just watched a couple of new films with a very bleak, 70s ending and it kinda taints the whole experience and prevents me from going back for a rewatch.
Aren’t almost all Blu-rays region free?
I never had a problem with region coded Blu-rays. (Unlike DVDs back in the day.)As far as I know all 4K discs are region free, but dvds and blurays still have regional coding. At least, that’s my personal experience.
I probably owe you a review of Without Apparent Motive…
I’ve come to like Jean-Louis Trintignant very much as an actor. Without doing so consciously I’ve collected a few of his films now – Il Grande Silenzio, Il Conformista, The Sunday Woman and Death Laid an Egg being the best of them – and I’m keen to watch A Man and a Woman although I’ve heard bad things about it, because I’ve loved the score forever. I find J-LT to be a compelling actor in everything he does, and in WAM his performance is no different, even though I think director Phillipe Labro gave him one tic too many. His Inspector Carella (this being based on an 87th Precinct novel) washes his hands compulsively, he pointedly and rudely refuses to answer questions from his underlings, he passes his fingers across his lips Bogart-like. He even dislikes his colleagues chewing gum on duty.
What I’ll remember this film for (apart from a thoroughly gratuitous topless scene early on) is Carella’s lung busting run around Nice harbour, well-conceived and filmed – very simple but still iconic.
If you know me from FSM, you’ll know that I like a giallo. This is almost one, but doesn’t quite contain the tropes sufficiently to qualify. A series of shootings rocks Nice, the victims not being linked as far as anyone knows. Carella’s job is to find the motive and solve the mystery. This he does with the help of a LOT of eye-candy: Dominique Sanda, Carla Gravina, Laura Antonelli, Stéphane Audran and Sacha Distel. There’s also Erich Segal, author of Love Story, playing an astrologist, who isn’t quite as easy on the eye but plays his part by dying in an almost comedic but somehow convincing way.
The Morricone score has two or three great tracks, repeated many times in the course of the film. In an interview presented as an extra, Labro seems to hint that he came up with the five-note phrase that the main theme is based upon, Pontecorvo-style. Who’s to say? He does come across as a bit “main character”, but fair enough he was pretty accomplished.
As often with 1970s film, the contemporary cars are often as interesting as the plot. Carella drives a beautiful white Peugeot 304 cabriolet. Dammit, I’d MAKE myself fit in one of those if I decide to retire to the Riviera and can find one with working brakes.
Nice write-up! I keep reading Phillip Lambro, the guy who did the rejected CHINATOWN, but this is no doubt someone else.
By the way, latter-day Trintignant was pretty good too. Primarily, of course, Kieslowski’s RED and Haneke’s AMOUR.
Weasels’ Tale, a 2019 comedic thriller from Argentina. Highly recommended, and the score was very nice, too. (I almost never notice scores in films; go figure!).
Nice write-up! I keep reading Phillip Lambro, the guy who did the rejected CHINATOWN, but this is no doubt someone else.
By the way, latter-day Trintignant was pretty good too. Primarily, of course, Kieslowski’s RED and Haneke’s AMOUR.
I imagine so, given that both parts of the names are spelled differently 😉
I’ve seen RED but don’t remember much about it – I think I watched the trilogy primarily for Preisner’s contribution. And J-LT was just another actor to me at that time. Knowing me I’ll be feverishly hunting out his films over the coming months.
I’ve been lazy. I haven’t posted about some films I’ve seen in a while. But I’ve been catching up on some new genre films and a couple of old Norwegian classics. Sorry, Gloin, if you’re still reading — not seen any noteworthy, new arthouse films recently, I’ll get to those eventually.
THE DEVIL’S MOUTH (2026)
Because Nick mentioned it. Fairly middle-of-the-road, but I liked the claustrophobic cave setting.
THE LAST HOUSE (2026)
Not as bad as people make it out to be (fine mood), but by no means a great film. Again, I like the closed quarters aspect of it. But some stupid behaviour on display.
TROST I TAKLAMPA (1955)Classic Norwegian film, based on a famous book. I’ll be writing about the Maj Sønstevold score soon, so I’ll get back to you on that.
TONNY (1962)
Norwegian ‘social realist’ film, one of Liv Ullmann’s earliest roles. I’ll be writing about the score by Egil Monn-Iversen soon, and I’ll get back with a more detailed walkthrough.
IT ENDS (2026)
Not a bad horror/apocalyptic film. Similar to VIVARIUM, BACKROOMS, the TV series FROM and other films with labyrinthine, nightmarish scenarios. But very dialogue heavy.
BLACK BOX (2026)
Silly affair about a plane hijacked by entities. Very B movie, just slightly above what SyFy channel used to produce back in the day. But the premise drew me in.
ABOVE AND BELOW (2026)
Terrible film about a boat hijacked by pirates while sharks lurk underneath. Banderas chews up the scenery as the bad guy. Again, the premise drew me in.
THE BAY (2026)
More teens tormented by sharks. Probably the worst film I’ve seen in decades, so bad it’s almost campy good. Not to be confused with the rather good Barry Levinson film from a few years ago.
APEX (2026)
Decent survival thriller by Baltasar Kormákur. I mean, it’s a poor man’s DELIVERANCE, but Charlize Theron carries it with impressive physical acting.
DEEP WATER (2026)
Of all these shark-related films, this Renny Harlin romp is maybe the best — but only because of the great plane crash sequence. The rest is rather bland. And it has Ben Kingsley – but in an unremarkable and too brief a role.
SPEED DEMON (2026)
Exorcism on a train! What’s not to like, eh? Well, it’s all rather silly, and even William H. Macy cannot save it. But gotta give props to the combo premise!
MUTINY (2026)I love me some Jason Statham now and then (I LOVED his SHELTER from earlier this year), but this film – set to a ship (again the draw for me — I love all things happening on moving crafts) — failed to exploit its promising premise.
BURY THE DEVIL (2026)
This was quite good, actually. A commentary on dementia, crossed with demonic possession. And all shot in one take (well, a “fake” one-take, but still). Director Adam O’Brian is one to watch.
THE UPRISING (2026)
Props to the Norwegian cinematographer Pål Ulvik Rokseth who manages to add the appropriate grain and dirt to a medieval story, but geezes — it’s all very pompous and detached, no heart. And those crowds, man. It’s always been difficult to create credible crowds on screen, and Paul Greengrass (who I normally like) falls in the same trap as everyone else. Inane crowds that boo and cheer and move like one, brainless entity. Bertelmann’s score was droney non-music, as always. Can’t stand that man’s music, sorry. He’s outside the city walls.
RESIDENT EVIL (2026)
Just came back from this. I had high hopes, because Cregger’s two earlier films were good (well, at least I loved BARBARIAN, not as enthused with WEAPONS as everyone else). It works reasonably well. A fumbling, quirky anti hero in the lead, lots of humour (it’s a comedy with some horror gimmicks). Maybe Creggers is channeling his inner Sam Raimi here. I liked the lean approach — we just follow him around across various “small” hindrances, there’s very little big mythology and world building on display until maybe the end. But a far cry from the Paul W.S. Anderson films, which are enormously underrated. I never played the videogame(s).
OK, one more shark film, and I’m all “shark-ed out” for the moment.
THRASH (2026)
Directed by Norwegian Tommy Wirkola, who’s made it reasonably big in Hollywood. Never really understood his “thing”, he’s always been like a goofy, 13-year-old splatter film nerd who’s gotten hold of his dad’s 8mm camera and makes home movies with it. But kudos to him for succeeding. Budget is reasonably big here, and it has some amusing setpieces as sharks infest a small town after a big storm. I like the weather/rain/storm bits – bit of Emmerich going on – but the shark element is less successful. Plus, I’m pretty sure I’ve seen this exact story in another film fairly recently?
THE END OF OAK STREET (2026)
I get what Mitchell is trying to do, to channel his inner Spielberg or Joe Johnston, but I was hoping for more of the progressive IT FOLLOWS Mitchell applied to a dinosaur film. I mean, it’s pretty good. Some thrills, some original choices (love the split-focus diopter frames here and there), but also one MASSIVE tonal “miss” towards the end of the film, which I will not spoil for those who haven’t seen it. Giacchino’s score was rubbish, as always. A solid 3 out of 5.
Giacchino’s score was rubbish, as always.
Seems that a lot people again like it. Interesting how controverse some composers like him or Göransson are. In that German forum one of the members with musicologist background is very fond of it because of some techniques… Have neither seens the movie or yet heard/sampled the score.
Seems that a lot people again like it.
Probably. I’m used to it, i.e. be in the minority, when it comes to this particular composer.
I generally land in the pro-Giacchino side of things, but found the score to Oak Street as bland and predictable as they come. The personification of auto pilot.
But the film was a mess anyway. Some good bits overshadowed by sloppy writing and filmmaking. Instantly forgettable.I am no Giacchino hater myself. I just lost a bit of interest years ago after a great start up to Incredibles and still think his LOST score in total is great. But I also was fan of the show… As I mentioned somehwere before on the surface he has all ingredients but somehow it feels all static to me often.
A few months ago I watched the “Dollars” trilogy, and today I finished this sequence of Sergio Leone’s most famous westerns with ONCE UPON A TIME IN THE WEST.
Budgets, production values as well as Leone’s artistry were clearly on the rise throughout these movies, with ONCE UPON A TIME IN THE WEST definitely the crowning achievement among them. And then there’s Ennio Morricones marvellous music, of course. Before watching I read Thor’s analysis of some of the musical highlights in the film, which was a nice preparation.
Of these four movies, I had actually seen only A FISTFUL OF DOLLARS before, shame on me. And that was in 8th grade, when it was shown to us as an example of violent, exploitative, and bad filmmaking. I.e., films to avoid. And then we were shown a supposedly good, worthwhile film – which I remember absolutely nothing about, including its title. Which should tell you which of these movies made the biggest impression on me 😉 . But it was probably some Norwegian social realism piece.
Anyway, that’s the Norwegian education system in the 70s for you! 😀today I finished this sequence of Sergio Leone’s most famous westerns
You’re not finished yet actually. There is the fifth and last Leone western GIU LA TESTA (akak DUCK YOU SUCKER or A FISTFUL OF DYNAMITE). Actually Leone referred to ONCE UPON A TIME IN THE WEST, GIU LA TESTA and ONCE UPON A TIME IN AMERICA as a 2nd “America trilogy” sometimes if I remember right.
And then we were shown a supposedly good, worthwhile film – which I remember absolutely nothing about, including its title. Which should tell you which of these movies made the biggest impression on me 😉
Always funny how views change over time 😉
ONCE UPON A TIME IN THE WEST is obviously a great film, but I don’t return to it very often. It’s such a “large meal”, I’ll have to mentally prepare for it. Seen it maybe 4-5 times over the years. But good to see you finally got around to it (and some other classic spags), Nils!
Speaking of films and school, I remember in 7th or 8th grade, we had a “free class” one day, meaning we could choose a film to watch (on a TV and VHS system the teacher rolled into the room). With a friend of mine, I chose TREMORS to watch for all of us. The teacher, a rather ‘anorak’ woman, was appalled by our choice when she saw the monster gore. 😀
You’re not finished yet actually. There is the fifth and last Leone western GIU LA TESTA (akak DUCK YOU SUCKER or A FISTFUL OF DYNAMITE). Actually Leone referred to ONCE UPON A TIME IN THE WEST, GIU LA TESTA and ONCE UPON A TIME IN AMERICA as a 2nd “America trilogy” sometimes if I remember right.
I know, but I was referring to (or at least it’s my impression) that the Dollars trilogy + ONCE UPON A TIME IN THE WEST are his most famous/iconic/well-regarded spaghetti westerns.
Speaking of films and school, I remember in 7th or 8th grade, we had a “free class” one day, meaning we could choose a film to watch (on a TV and VHS system the teacher rolled into the room). With a friend of mine, I chose TREMORS to watch for all of us. The teacher, a rather ‘anorak’ woman, was appalled by our choice when she saw the monster gore. 😀
Ha ha – I can imagine! 😀
- You must be logged in to reply to this topic.