Talk about FILMS you’ve just seen!
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Just came back from THE MANDALORIAN AND GROGU.
I mean, it’s a cute film, fairly innocous. For older kids, really. And Jon Favreau is no auteur, so pretty straightforward craftmanship. It’s rather episodic (I think it was intended as a fourth season of the series until it was adapted into a film?). Lots of ‘meet cute’ elements, be it baby Yoda or those tiny repairmen creatures (relatives of Babu Frink, I think his name was from the sequels). And building on lore from the extended universe, including that old CLONE WARS film (Filoni’s legacy). I loved a “solo Grogu” sequence along the way there, which reminded me of Jim Henson’s masterpiece THE DARK CRYSTAL. The episodic nature of it can be considered a strength, in a way, with many “mini films”, with their own sets of stories. Nice to see Sigourney Weaver in there (three major sci fi crossovers for her now), and a fun, little bit voiced by Martin Scorsese, of all people.
Göransson’s music was atrocious, but I expected nothing else. For orchestral music, he can only aspire to third-rate Bill Conti at his best, and the rest is rather meandering and simplistic. Some promising synth bits for a city in there, but it never really went anywhere. Göransson has proudly inherited the mantle as film music’s most overrated composer after Giacchino.
In short, I quite liked the film as pure storytelling, but only limited bits of anything beyond that.
Good review. By which I meant the reviewing itself is good. You don’t sound like you took much bias into the auditorium, and I have a decent sense of the film. Thanks, Thor.
I have seen it and was entertained but already forgot most of it incl. the score…
Well, I don’t think it will leave a lasting impression on me, either. It’s more like a roller coaster ride: Fun while it lasts. 🙂
Speaking of horror, I’m currently watching my way through André Øvredal’s films again, as I’m going to do a Q&A with him next week, at the Norwegian pre-premiere of his latest film PASSENGER (featuring a Christopher Young score). TROLLJEGEREN is still pretty fun ‘found footage’ (although some comic elements that feel out-of-place), THE AUTOPSY OF JANE DOE a fine chamber drama horror (that brought him to the attention of Mr. Stephen King himself), SCARY STORIES TO TELL IN THE DARK his best work (with beautiful late 60s colours and plenty of King references, produced by Del Toro), MORTAL somewhat of a misfire (despite a great Marcus Paus score), and then it’s THE LAST VOYAGE OF THE DEMETER, which I’m rewatching tonight. Remember that as pretty good too, I love those “isolation horrors”. Curious what he’s done for PASSENGER too, which seems to be another isolation horror.
Allow me a reply to myself. 😀
Just came back from said film, PASSENGER. It’s a fairly middle-of-the-road genre film compared to some of André’s previous works, but definitely some interesting aspects. First, a lot more jump scares than is usual for him. Second, interesting use of camera (inside/outside, who’s watching, is it just a point-of-view or the spirit’s vantage point?). Third, a wonderful, De Palma-esque one-take on a parking lot. Fourth, a Christopher Young score that has a few interesting moments – first and foremost a choral slant that sends associations to BLESS THE CHILD or MURDER IN THE FIRST. But also some heavy, dissonant sturm und drang and some guitar noodlings for the few idyllic moments. Several pop songs, so it has to weave its way around that.
Anyways, should hopefully be plenty to talk about tomorrow, in the Q&A.
First was Gus van Sant’s DEAD MAN’S WIRE, which was a pretty straightforward hostage drama — but the real-life source story was rather thin, so it didn’t do much to heighten the proceedings. It’s like “boiling soup on nails”, as a Norwegian expression goes. But great 70s colourite, washed out, heavy on browns. Elfman’s percussive score tries to do another DEAD PRESIDENTS, but never reaches those levels. It plays second fiddle to the period songs.
This film has got 121 producers, according to imdb. What the heck is happening with Hollywood??
Besides IMBD credits not being reliable at all 😉 Isn’t “producer” or “executive producer” nowadays a kind of “title” often that even lead actors get if they get a share of the revenue or something? Without actually having actually “produced” anything… Or maybe it is just that they indeed need that many people to get the money raised or (edit: yeah, producers don’t really contribute the money actually…) 😉
That is a lot. These days, it’s difficult to say which credited producer actually produced, and which were more like “honorary” titles, due to some random involvement.
I also watched THE MANDALORIAN AND GROGU today with my boys and was pleasantly surprised. The movie didn’t keep any of its promises that had been set in advance like wrapping up the Mandoverse bringing the series to a reasonable end including the Ashoka series.
Really nothing of that at all.
Just another nice Mando adventure ignoring almost all previous storylines.
And of all things I have never been a fan of those Hutt stories where some family member gets kidnapped by some other gangster. And I don’t like these Babu Frick characters.
But it really all turned out entertaining and fine.I loved a “solo Grogu” sequence along the way there, which reminded me of Jim Henson’s masterpiece THE DARK CRYSTAL.
I felt the same about this sequence.
Ok. From the saga perspective this movie was more than superfluous. But I had a really good time with my boys at the cinema.And I don’t like these Babu Frick characters.
I had to giggle a bit at that assessment. Why not? Aren’t they so cute, you want to squeeze them?
I had to giggle a bit at that assessment. Why not? Aren’t they so cute, you want to squeeze them?
Let me put it this way. I have no trouble whèn Star Wars feels like The Dark Crystal. But since Reurn Of The Jedi there are elements that rather feel like a number of The Muppet Show. Babu Frick is definitely such a Muppet Show element.
I loved the Muppet Show. But that was parody. And there are some good Star Wars parodies out there. Like Pigs in Space with Luke Skywalker. But Star Wars itself shouldn’t be a parody in itself.
But I had a really good time with my boys at the cinema.
Sometimes that is all it takes!
Star Wars has longer tradition of such elements starting with the Ewoks… (to exlude that Christmas special…)
Love the Muppets, and all the muppet/Henson elements that made up the original STAR WARS trilogy as well. Those were some of my favourite elements of THE MANDALORIAN AND GROGU.
Haven’t seen much of the Mandalorian but isn’t Grogu the actual star? 😉 Btw did the “Yoda” species finally get a name?
Muppets are a great and important part of my childhood (Seasme Street somehow belong to that as well for me).
Last night, we watched the psychological thriller Lurker (2025). Highly recommended, especially if you like psychological thrillers dealing with pop stardom.
Last night, we watched the psychological thriller Lurker (2025). Highly recommended, especially if you like psychological thrillers dealing with pop stardom.
Thanks for the tip, I see early Polanski is mentioned as a reference in reviews. It’s an interesting sub genre. Others in the same vein include VOX LUX (2018), MAXXXINE (2024) and SMILE 2 (2024). Or for the fashion world, THE NEON DEMON (2016), or fading film stars, the Cronenberg-ian THE SUBSTANCE (2024). Deconstructing the vulgarism of it all, it fits well with horror or thrillers (be it psychological or physical).
Haven’t seen much of the Mandalorian but isn’t Grogu the actual star?
No.
Btw did the “Yoda” species finally get a name?
No.
Muppets are a great and important part of my childhood (Seasme Street somehow belong to that as well for me).
I love the muppets, too. But let me put it this way. I like coca cola and I like milk. Still I don’t like both things mixed together.
Thanks for the tip, I see early Polanski is mentioned as a reference in reviews. It’s an interesting sub genre. Others in the same vein include VOX LUX (2018), MAXXXINE (2024) and SMILE 2 (2024). Or for the fashion world, THE NEON DEMON (2016), or fading film stars, the Cronenberg-ian THE SUBSTANCE (2024). Deconstructing the vulgarism of it all, it fits well with horror or thrillers (be it psychological or physical).
We loved both MAXXXINE (2024) and THE SUBSTANCE (2024). How is SMILE 2? I tried to watch the first one, but thought it was ridiculous. I guess people have different reactions to horror.
Yes, the second is a very different film (and Jack Nicholson’s son’s in it). A satirical essay on pop stardom through horror eyes. Same as MAXXXINE was very different from PEARL or X.
The Drama (2026). I see this has been mentioned a couple of times earlier in the thread and didn’t go down too well, but I liked it a lot. Not quite as delightfully scathing as Sick of Myself or Dream Scenario, but, on the positive side, I felt that it was more consistently interesting (whereas its predecessors had sort of petered out towards the end).
I saw Kane Parsons’ creepy horror film BACKROOMS earlier this week, and liked it. Here’s my review, google-translated. Our own Renate Reinsve is everywhere these days. First the success of SENTIMENTAL VALUE, then Cristian Mungiu’s Gold Palm-winning FJORD (which premieres here later this year) and now this, something completely different.
Yes, new BoC album after many years, released the same day as the film – and used in the film. I didn’t make the connection until yesterday.
Just came back from Travis Knight’s MASTERS OF THE UNIVERSE. It was rather rubbish, to be honest. Both this, and the recent animation reboot on Netflix, insist on doing two things: First, question and play around with gender roles (especially male), or PC culture. Hence becoming very self-aware. The name “He-Man” isn’t even mentioned until the very end, and when it is, it’s a brief side joke. Second, infuse it with inane (and unfunny) comedy, usually lots of self irony and campiness.
I get it, the source material wasn’t exactly high art to begin with. It was a cynical, superficial and rather genius marketing ploy by Mattel & co., designed to sell as many toys as possible. And it’s a product of its time.
But for those of us who obsessed over MOTU as kids in the 80s (I had the Castle Greyskull, He-Man, Skeletor, Battle Cat, Panthera, Man-At-Arms and lots of other action figures), this was serious business. Nothing funny about it. And they’re losing the nostalgic “old boys” among us with these new interpretations, which presumably are just as important as the young ‘uns when it comes to target audience.
I suppose that’s the way it’s gotta be, though, if you’re going to revitalize this. The old 1987 film adaptation, despite its wonkiness, at least tried to take itself a little seriously, and a little more like the animated show, but then again that’s a product of its time too. I think this is just one of those franchises that could only exist at that exact moment in time, and isn’t really able to survive anywhere else.
(but kudos to Daniel Pemberton and Brian May for the infectious ABBA-via-Queen Eternia theme. The score itself is more KULL THE CONQUEROR than FLASH GORDON, but a cool throwback decision).
But for those of us who obsessed over MOTU as kids in the 80s (I had the Castle Greyskull, He-Man, Skeletor, Battle Cat, Panthera, Man-At-Arms and lots of other action figures), this was serious business. Nothing funny about it. And they’re losing the nostalgic “old boys” among us with these new interpretations, which presumably are just as important as the young ‘uns when it comes to target audience.
Maybe this is more targeted to the older generation like me who were already at the time making fun of their younger siblings for taking this obvious and ridiculous toys selling joke serious. Ha ha! We had Star Wars! And you grow up playing with these impotent steroid plastic muscle jerks! Haha!
Or maybe it is just the increasing James-Gunn-erization of the teenager fantasy world.
Braveheart (Mel Gibson) — 8/10
Whoa, haven’t seen this for 30 years, but this one still packs a lot of punch. The historians have been sharpening their knives over this film for decades, of course… with all kinds of things wrong… what’s it again? The tartans are wrong, the timelines are wrong, the kilts are basically time‑traveling fabric. But who cares? Well, ok, I do care, a little, so there goes a point from the review, Mel. But I care just a little, not enough to stop enjoying the thing. Because the story, the emotional sweep, the sheer operatic gist of what is being told still works. It is doing what Mel Gibson is really good at doing: telling a myth and landing it hard. The movie is well made and thoroughly enjoyable from beginning to end, great Horner score too. It’s even better than I remember it. FREEDOM!!The Day After Tomorrow (Roland Emmerich, 2004) — 6/10
If ever there was a successor to Irwin Allen, it’s Roland Emmerich, who just loves to destroy cities and buildings and countries. And that’s why I watch his movies when I feel like watching things get blown up. All Roland Emmerich needs is a “McGuffin” that he uses to stomp all over things, be it Godzilla, Aliens, the moon…
Here it’s climate change… or better climax change, because the weather here changes on a dime and becomes the monster! I had not seen this one, for some reason I never got around to it, so I finally caught up. The movie switches from sun to hailstorms to freeze‑over‑hell temperatures within hours. This is climate out to hunt you down and kill you. As will the escaped wolves, by the way (yes, there are killer wolves in this movie too!) At least that makes climate change fun. Instead of waiting a thousand years for it to happen. Go, climate, go! Get them pesky humans!The problem is that the story, as so often with Emmerich, really makes no sense. I didn’t get the main plot. I mean, I accept that winds and storms and cold weather is all out to get you and that climate turns deadly within hours, fine… (I mean, I believed that a man can fly back then, so…). But even given its ludicrous but fun premise… why do the people do what they are doing in this movie?
We’re told the entire northern half of the United States is frozen solid, temperatures lower than Antarctica on a bad day and then some. Yet a handful of students survive in a New York library by burning books. Books! Not the furniture, which is mostly made of WOOD and therefore slightly more effective at producing heat than, say, paperbacks? At least they stopped at the Guttenberg Bible. Meanwhile Dennis Quaid decides to walk to Manhattan on foot, through a continent‑wide death blizzard, to do… what, exactly? He’s not bringing a rescue team. He’s not carrying supplies. He’s essentially going there to hug his son, and does so to Harald Klosers (pretty good) music, which is sweet, if you ignore the part where it’s also completely deranged. Ah, and when he arrives, the weather gets better. Always take the weather with you, I guess… (they should have played that song over the scene!)Still, the film has its moments, Emmerich has a knack to get the most out of his budgets…. the movie cost 125 million dollars and really looks like it. The images and catastrophes are spectacularly done, and that’s why we’re here for, not for the story arcs character development. And the movie delivers on spectacle, that’s for sure. Lots of fun with evil weather gods there. Ah, yeah and those scenes of Americans fleeing south to Mexico. Haha… we get the joke, Roland, perhaps a little too on‑the‑nose? But it’s Emmerich… so it’s everything and the kitchen sink thrown in. Fun popcorn stuff.
The historians have been sharpening their knives over this film for decades, of course… with all kinds of things wrong… what’s it again? The tartans are wrong, the timelines are wrong, the kilts are basically time‑traveling fabric.
And Horner’s Irish pipes. But yes, who cares? It’s not a documentary. It’s a colorful romance. I haven’t seen it in 30 years either, but I kinda feel like I have, because it’s become such a meme; a reference point in popular culture. One of these days, I’ll need a rewatch. It’s on Disney+ (which I have access to via my brother), so it’s just a click away.
As for Emmerich, oh…he’s one of my alltime favourite directors. And I think THE DAY AFTER TOMORROW is a bloody masterpiece. I don’t go to him for complex characters, but the way he expounds upon the basic disaster film recipe that Allen & co. once established with THE POSEIDON ADVENTURE (not the first disaster film, but the first to properly formulate the modern act structure and general style).
Wasn’t aware there was such a divide between kids and sligthly-older kids back then?
Question is what you mean by “slightly”. I was ten years older than my younger brother who was a big MOTU fan.
But I have to admit, he was a huge Star Wars fans as well.
And Horner’s Irish pipes.
As you said, it doesn’t matter. However, the Irish pipes were a logical decision and conscious choice, not a mistake. Irish pipes give the same basic sound sensibility as Scottish pipes, but are much better suited to be integrated within an orchestra. So that was not an fallacy but an obvious choice, as it gave Horner the coloring that he wanted without the problems of Scottish pipes within an orchestra setting/studio. Since Horner’s music was underscore anyway and not within the narrative, it didn’t matter what he used anyway.
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