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bad beetz
04-21-2004, 09:04 PM
These are the movies I have seen in the last month and what I think of them:

1. Dirty Harry

Dirty Harry is a good movie. Movies were very different then, although when Scorpio is about to cap someone, they play this beat that is surprisingly 90’s. Cars in the 70’s were uglier than a muthafucka. The word “nigger,” is used an order of magnitude less in movies every decade after the 60’s

2. Galaxy Quest.

Cute. 2 or 3 episodes of gut wrenching laughter, but other than that it’s kind of slow and sappy. You’re not supposed to feel for the characters because it’s a comedy, but the movie tried anyway. I think my mom would like it allot.

3. The Crow.

High school Goth wet dream. Paint your face up and run around invincible killing people to core music. Blah. It’s still fun to watch. Brandon Lee died during its making, so it’s missing some things that may have made it better. It’s good; if you haven’t seen it you should see it.

4. Edward Scissorhands.

I reported about this earlier. Dope movie. Rock solid. Tim Burton is bad ass, and when combined with Danny Elfman, it’s mo bad ass. And Johnny Depp is bad ass.

5. Bulletproof monk.

The only thing I thought during this movie was, “What the hell am I doing renting Bulletproof Monk?!” It’s got Chow on Young Fat and Stiffler. It has to suck ass but I rent it anyway. Verdict? It sucks ass.

6. From the cradle to the grave.

It’s a martial arts action flick. I didn’t learn my lesson from #5. It sucks ass.

7. The Punisher

If you read the comic you’ll probably like the movie. It’s not bad, not great. Rebecca Romaine Stamos should have gotten nekkid or somtin’.

8. Eternal Sunshine of the Spotless Mind.

Holy Shitnuts. This movie’s fricken, like, really, really good. It’s incredible. I’m not a Jim Carrey fan, and he’s not Jim Carrey in this movie. He’s a character that you care about. The movie made me feel lonely, but I like that because I don’t feel much and it made me feel human. Haakee saw this with me, which is cool, because haakee doesn’t talk during movies, which pisses me off.

9. Bound

Oh, man, this movie is sweet. It’s like “Wild Things,” you watch this bad ass movie with a solid plot and all, and the as a bonus Jennifer Tilly and Gina Gershawn make out and touch each other. Than, just when your like, “man, this movie’s kind of sweet, but it’s kind of losing me… oh, wait, wait….. Oh, yeah, girls kissing. Sweet, I’m back. Than it’s more good movie. I highly recommend this, and of course, if you haven’t seen Wild Things, and you like hot chicks and really good movies, than your missing out on two counts by not seeing Wild Things.

10. Absalon

Jesus Christ. Crap. B-rate movie, but if fooled me because there are 20 copies available at blockbuster. I should have been tipped off by the fact that the main characters are Lou Diamond Phillips and that dude from Highlander.

11. Equilibrium

Good. If you like ludicrous fight seems, and I mean ludicrous, you’ll like this. If you like far out fantastic-futuristic-post-apocalyptic-unrealistic-plots like I do, than you’ll like this. Christian Bale is pimptacular. Remember in American Psycho when he’s doing those chicks and he keeps looking in the mirror and flexing? I love that part. And the part when the ATM says, “feed me kittens.” Hey. What? I said this movie review was useless, so shut up.

12. Dead Man

Crap. Artistic types will tell you that this movie was revolutionary. It’s not. It’s crap. I like Johnny Depp. I like westerns. I like an attempt to be stylistic. But if failed and this is crap any way you look at it. Although I liked it when I saw it because I was high, but I watched it again and realized that it is, in fact, crap.

13. Catch me if you can

Thoroughly entertaining. I’m not sure I saw this in the last month, it may have been a month and a week or something. I’ll have to check netflix.

14. Buffalo 66.

I saw this one month and a half ago, so it’s not supposed to be in here, but I like it so much I’m putting it in here anyway. It’s in my top 5 flicks of all times. If you haven’t seen it, see it. Vincent Gallo did it all, wrote, directed, and starred in. And unlike Kevin Costner, who turns every film he writes, directs and stars in into a buttf*ckathon of craperiffic proportions, this is done right. It’s so good. It made me feel allot of emotion, and I wanted desperately for the two characters to get together.


Oh, I forgot.
The “good” guy never kills the “bad” guy in cold blood in today’s movies. Five stars for anybody who can name three flicks in which this happens. All of them that I can remember are good.


15. 21 Grams. Ooof. Tough movie to watch. Will make you feel sad. Sure, it’s a good movie with fantastic performances by excellent actors, well directed with a great script. Still, it’s nothing more than a 2 hour really [censored] depressing story. If that’s your goal, congratulations, you’ve accomplished it, but I don’t think it makes a good movie.

16. The League of Extraordinary Gentlemen.

Crap. Sean Connery should be ashamed of himself.

17. Underworld.

Not great, but if you like vampire or werewolf science fiction, than you can’t go wrong with a “Vampires VS. Werewolf,” movie. I like it even though it’s clearly not good.

18. Mitch Hedberg’s standup DVD.

Straight Dope. If it doesn’t make you laugh you’re not human. “I bought a donut and the dude handed me a receipt. I don’t need a receipt for a donut. I hand you money, you hand me the donut, end of transaction. I cannot imagine the scenario in which I need to prove that I bought a donut. ‘Dude, don’t even be like I didn’t get that donut… I have the documentation.’” No repeat that as if you were some really stoned dude with long hair. Nuff.

19. Aqua teen hunger force season 1 DVD.

Better than all the movies above put together. But not a movie, so it can’t make it into my top five.

20. S.W.A.T.

Typical action flick, not great, not terrible. SWORDFISH is much better, and equally unbelievable.

21. High Noon, the original

Excellent western. Everybody screws this really, really, really good guy, and he tells them all to go f*ck themselves. But there’s an hour and a half of movie in between. This is one of the great westerns, up there with “The Good, the Bad, and the Ugly.”

22. Chappele’s show season 1.

What did the five fingers say to the face? “Slap!” No, if you’ll excuse me, I have to go put some water in Buck Nasty’s mom’s dish. (best sketch comedy show ever)

23. The Adventures of Buckaroo Bonzai across the eight dimension.

Meh. This movie is a really, really goofy cult classic, but I ain’t sayin it’s good.

24. A boy and his dog

Totally interesting. Post apocalyptic movie (I love these) about a horny boy and his telepathic dog with radar. He gets conned into going to the underworld where they use him for sperm and a big robot smashes people’s heads. Not great, but interesting enough that if you like weird plots, get it. It’s a little violent.

25. Serpico

A classic. I still didn’t like it even if it’s a classic. It’s long and I just don’t care about Pacino’s plight to right the wrongs with the police force.

andyfox
04-22-2004, 12:14 AM
"Bound"

Kind of makes the Coen Brothers look like Frank Capra. Loved it. Fabulous.

"High Noon"

Great movie. Hate country music, but every time I see it I become Tex Ritter for about a month. I guess Gary Cooper won the Oscar, but god he's stiff and awful. The BFI Film Clasics book about the movie, by Phillip Drummond, is very good. BTW, the music was arranged by Dominic Frontierre, who later married Georgia.

scotnt73
04-22-2004, 10:34 AM
i thought league of extrordinairy gentlemen was very good. i went in just hoping to be entertained and wasnt dissapointed at all. its not a classic but it is a fun action packed movie that i didnt mind taking the kiddies to.

im going to see hellboy tomorrow. im going in with about the same expectation as i did League and Underworld which is just to have fun and enjoy the special effects. if you expect too much out of these types of movies you will be dissapointed alot. my biggest dissapointment out of these types of movies was Hulk. that was absolute crap.

bernie
04-22-2004, 08:10 PM
[ QUOTE ]
25. Serpico

A classic. I still didn’t like it even if it’s a classic. It’s long and I just don’t care about Pacino’s plight to right the wrongs with the police force.


[/ QUOTE ]

Not even the fact that it's a true story and could(may have) happen(ed) in your own city's police force? That's what made it real interesting to me. Kind of like 3 days of the condor. Except, condor was fiction. Though it made ya think a little.

Movies were kinda longer back then. The main overlong one i remember was 'deerhunter'. Great flick, but they couldve cut out 75% of the wedding scene which seemed to take up about 1/2 the flick. They made the point. OK, he got married. Done.

I also like the more realistic, grainier look of back then. Ever notice the gals in alot of those flicks werent all supermodels? Nowadays, even in old time period pieces like say, Braveheartor gladiator, the gal is pretty hot. I mean, cmon, they hardly even bathed back then. Not to mention all the nice str8, white teeth.

b

TimTimSalabim
04-22-2004, 11:25 PM
[ QUOTE ]
14. Buffalo 66.

I saw this one month and a half ago, so it’s not supposed to be in here, but I like it so much I’m putting it in here anyway. It’s in my top 5 flicks of all times. If you haven’t seen it, see it. Vincent Gallo did it all, wrote, directed, and starred in. And unlike Kevin Costner, who turns every film he writes, directs and stars in into a buttf*ckathon of craperiffic proportions, this is done right. It’s so good. It made me feel allot of emotion, and I wanted desperately for the two characters to get together.


[/ QUOTE ]

I love this movie. Christina Ricci is absolutely adorable in it, she expresses so much with so few words.

bad beetz
04-23-2004, 01:38 AM
you're right about chicks being hotter in today's flix.

Did you see the remake of Planet of the Apes? I think that was even tim burton/danny elfman (I could be wrong,) but it was so damn stupid.

Marky mark and the funky bunch are stranded on a planet for a long ass time, and he doesn't get a 5 oclock shadow. wtf? and the girl has on lipstick. and she can speak. The humans aren't supposed to be able to speak, that's half the point of the movie. argh. crap.

I have not seen 3 days of the condor, but have already added it to my netflix list. thanks

bernie
04-23-2004, 10:31 AM
[ QUOTE ]
I have not seen 3 days of the condor, but have already added it to my netflix list. thanks

[/ QUOTE ]

Let me know what ya think.

b

dsm
04-23-2004, 05:46 PM
[ QUOTE ]
...,but god he's stiff and awful (Gary Cooper).

[/ QUOTE ]

I definitely agree, but somehow it works in Private York. As for his other 600 movies...oh well

dsm
04-23-2004, 06:46 PM
n/m = no message

Ray Zee
04-23-2004, 10:22 PM
boy and his dog is a real cult classic.
almost on a par with the gods must be crazy. which may have been the best movie for just entertainment of all time.

Phat Mack
04-24-2004, 05:21 PM
boy and his dog is a real cult classic.

I haven't thought about this flick in a while. It was a cult favorite from the day it was released. It was criticized as being wildly sexist by the feminists of that time, which probably attracted more viewers. Based on a Harlan Ellison book. The kid is played by Don Johnson, probably his greatest role. Of course, the dog stole the show. I always liked this movie a lot.

Rushmore
04-25-2004, 09:36 AM
The Fountainhead and The Lou Gehrig Story.

Come on. These are pretty fine movies, even if he is a little stiff.

Rushmore
04-25-2004, 09:54 AM
Note: I have been skipping this post for a week now. The title led me to believe it was useless. This was not true.

Content: You should get better movies if you're going to watch all these damned movies. There are plenty of posts in the archives on this topic, so I'll leave it to you.

Quiz Response: [ QUOTE ]
Oh, I forgot.
The “good” guy never kills the “bad” guy in cold blood in today’s movies. Five stars for anybody who can name three flicks in which this happens. All of them that I can remember are good.

[/ QUOTE ]

1. Platoon
2. House of Games
3. The Godfather

More Content: Eternal Sunshine, while problematic, was indeed a worthwhile movie. Good call.

MAL Content: Buffalo 66 was a great read on a particular sort of guy who is walking around out there. I was surprised it was so good, given the art-crowd hype.

You should definitely keep us abreast of your netflix selections and your reactions to same.

Just lay off the titles that you ought to know better than to select. Bulletproof Monk?

How did you miss Battlefield Earth?

M2d
04-25-2004, 12:57 PM
[ QUOTE ]
The “good” guy never kills the “bad” guy in cold blood in today’s movies. Five stars for anybody who can name three flicks in which this happens. All of them that I can remember are good.

[/ QUOTE ]


Funny you mention this. I just caught "Man on Fire" last night, and that pretty much sums up the second half of the movie. Good guy kills bad guys.

andyfox
04-26-2004, 12:01 AM
It’s Always ‘High Noon’ At the White House

The Film American Presidents Can’t Do Without

By J. Hoberman

New York Times 4-25-04

Imagine, if you dare, the inner lives of our presidents. Dwight D. Eisenhower was not known for his cinephilia, but there was one movie he saw repeatedly. Released the year of Eisenhower’s election, 1952, “high Noon”—stark as a woodcut and single-minded as an amusement park ride—was screened no less than three times during Eisenhower’s tenure.

Present for a show early in the first term, a magazine writers reported the president unusually engrossed. On the screen, Gary Cooper’s weary marshal stood alone; stalked through his empty town by four implacable killers, he had taken refuge in a barn, and now the bad guys had set it on fire. Eisenhower “bent forward in genuine anxiety,” the journalist noted. “As Cooper leaped onto the horse and headed out of the barn, the President of the United States could contain himself no longer. ‘Run,’ shouted Ike.”

Eisenhower’s sense of identification proved prophetic. “High Noon” is a modest movie that caries an impressive historic burden—and not just because it provides the supreme illustration of the cowboy-commander in chief credo that “a man’s gotta do what a man’s gotta do.”

“High Noon” is the most celebrated western Hollywood ever produced. Stingy on scenic splendor, shot in dour black and white, and running a laconic 85 minutes, “High Noon” influenced everything from the television series “Gunsmoke” to Sergio Leone’s spaghetti westerns; it has been transposed to outer space and, in the form of a Solidarity campaign poster, to Poland’s first post-Communist election. But more remarkable, “High Noon” remains current, a resilient political metaphor—and the dramatization of a scenario particularly beloved by recent American leaders.

Directed by Fred Zinnemann from Carl Foreman’s screenplay for Stanley Kramer’s independent production company, “High Noon” introduced the young Grace Kelly and provided a comeback vehicle for the middle-aged Cooper. It won four Oscars “including Cooper’s for best actor) and initiated a trend for original theme songs (three versions of its plaintive ballad competed on the Hit Parade). The movie also evoked the immediacy of live television drama; its gimmick was that it purported to unfold in real time on a Sunday morning, appropriate for its moral sermon. In his highly appreciative review in The New York Times, Bosley Crowther said that the story of a marshal who eschews retirement in order to protect a cowardly, ungrateful constituency from a vengeance-bent criminal “has a stunning comprehension of that thing we call courage in a man and the thorniness of being courageous in a world of bullies and poltroons.”

Indeed, “high Noon” had its origins in a 1948 allegory that Foreman had been asked to write about the United Nations. But the scenario took on another meaning entirely after the screenwriter, a former member of the Communist Party, was subpoenaed by the House Un-American Activities Committee in early 1951. Foreman was then working on the script; when he appeared before the committee some months after, the movie was already in production. Under intense pressure name the names of his Communist associates, Foreman declines to do so. Consequently dumped by Kramer, his longtime partner, Foreman would always maintain that “High Noon” was a movie about the blacklist: “That was perfectly recognizable to people in Hollywood when they saw the picture, because I was using dialogue that was in spirit the same thing that I was hearing—‘Don’t do that; the town had so much trouble; go away.’ ” Others agreed.

Hollywood’s most outspoken anti-Communist, John Wayne—more concerned for Cooper’s reputation that Cooper was himself—demanded in vain that Foreman remove this name from the screenplay. The Wayne vehicle “Rio Bravo,” directed by Howard Hawks in 1958, was a deliberate anti-High Noon.” Rather than seek help from the townspeople, Wayne’s tough sheriff declines their amateur offers of assistance. Nearly 20 years after “High Noon” opened, Wayne was still angry, calling it “the most un-American thing I’ve ever seen in my whole life” and telling Playboy that he’d “never regret having helped run Foreman out of this country.”

There is, however, another way of looking at the movie. As the cultural historian Richard Slotkin pointed out in his analysis of the frontier myth, “Gunfighter Nation,” Cooper’s iconic lone marshal “forthrightly asserts the need for pre-emptive violence to prevent atrocities which he (apparently alone) believes are certain to follow.” This weary loners’ brave posture of prescient and courageous certainty in the fact of public cowardice is the American politician’s ego ideal.

For years, headline writers and pundits have routinely characterized presidential debates and primary elections as a candidate’s or a president’s “high noon.” (In his recent book on Kennedy iconography, the art historian David M. Lubin compares the famous image of Lyndon Johnson being sworn in as “the nation’s chief lawman” to Cooper’s lanky marshal.) According to White House projectionists’ logs furnished to the makers of the television documentary “All the Presidents’ Movies,” “High Noon” also ranks as the film most requested by American presidents—none more than Bill Clinton, who screened the film he identified as his favorite some 20 times during his White House residency.

“It’s a move about courage in the face of fear and the guy doing what he thought was right in spite of the fact that it could cost him everything,” Mr. Clinton told Dan Rather in 1993. “Gary Cooper is terrified the whole way through. So he doesn’t pretend to be some macho guy. He’s just doing what he thinks is right. It’s a great movie.” Some thought that Mr. Clinton’s 1996 opponent, Senator Bob Dole, was casting himself as Cooper’s marshal with his laconic yeps and nopes. “Three days before the election, Mr. Dole declared it high noon. “The clock is ticking,” he said “We are on the way to the White House.” But it is Mr. Clinton’s successor who has benefited most from the “High Noon” scenario.

Ironically, as Mr. Clinton prepared for the Jan. 20, 2001 transfer of power, he told Mr. Rather that he would recommend the Gary Cooper western to George W. Bush. As of last summer, President Bush had screened it only once in the White House, in late September 2001, not long after declaring that he wanted Osama bin Laden “Dead or alive.” Mr. Bush did present a “High Noon” poster to the Japanese prime minister, who said that “Gary Cooper fought a lonely battle against a gang, but this time the whole world stands with the Untied States.” (According to the Kyodo News Agency, the two had bonded over “High Noon” several months before, “comparing themselves to the lone, stoic and honor-bound marshal.” Like his father before him, Mr. Bush gave Saddam Hussein a “high noon” deadline to get out of town. And more forcefully than any American president since his fellow Texan Lyndon Johnson, Mr. Bush has argued the need for pre-emptive action to forestall violence that—no less than Coopers’ marshal—he alone was sure would occur.

“I see ‘High Noon’ as having an urgent political message,” the Swedish critic Harry Schein wrote in a mid-1905’s essay called “The Olympian Cowboy.” “The little community seems to be crippled with fear before the approaching villains,” Schein wrote, “seems to be timid, neutral, and half-heated, like the Untied Nations before the Soviet Union, China and North Korea; moral courage is apparent only in the very American sheriff.” “High Noon,” he continued, is “The most convincing and, likewise, certainly the most honest explanation of American foreign policy.” Half a century later, the analysis holds

bad beetz
04-26-2004, 06:19 PM
word.

The Gods Must be Crazy is superb. A must see.

tiltboy
04-27-2004, 01:13 PM
[ QUOTE ]
22. Chappele’s show season 1.

What did the five fingers say to the face? “Slap!” No, if you’ll excuse me, I have to go put some water in Buck Nasty’s mom’s dish. (best sketch comedy show ever)

[/ QUOTE ]

Does this one have the Popcopy employee training video skit on it? That one had unknown substances spewing from my nasal cavities.