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BasedMinkus · 10-09-2016, 03:05 AM

Quote:Originally posted by BANNING@Oct 8 2016, 10:40 PM
Really don't feel like it's that many, and I refuse albums for the smallest reasons most times.

Maybe I am just more anal when it comes to music

Maxy · 10-09-2016, 08:38 AM

Yeah as far as albums go there's like 5? That i consider perfect 10s

The Doors
Led Zeppelin II
MBDTF
College Dropout
The Wall

Lots more of close ones but those off the top of my head are the only ones I'd consider perfect

Noble · 10-09-2016, 08:53 AM

Went to see Ms. Peregrine's Home for Peculiar Children with the gf last night, would rate it like 6/10.

easymoneysniper · 10-09-2016, 11:08 AM

Quote:Originally posted by BANNING@Oct 9 2016, 12:30 AM

Probably late but for Netflix movies

- Ex Machina is a very hip movie to like right now. It was good, and I love the cast (Oscar Isaac is kind of on fire, but needs to get cast in a legit excellent movie before he'll get to the next level, Alicia Vikrander and Domhnall Gleeson were excellent) but I don't think it's as good as people make it out to be. More clever than your average movie, but not as clever as it thinks it is.

- The Big Short is one of my favorite movies in the last few years. Excellent ensemble cast, true story (as true as Hollywood can do a story) and a really relevant issue. Of the Big 4 movies dealing with the 2008 Financial Crisis (Margin Call, The Big Short, Inside Job and Too Big To Fail) it's by far the best. Ryan Gosling and Steve Carrell were both amazing, and I thought Finn Wittrock was very good in his small role. Complicated issue that's dealt with very straightforwardly and it's a very entertaining movie. May have seen it already, it's big enough that it probably doesn't need a shout out, but if not, go do

- Edge Of Tomorrow - if you want a popcorn action flick, this one is pretty fun. Tom Cruise and Emily Blunt. Again, not as clever as it thinks it is, but it's far enough away from obvious and mainstream to not make it a cliched Tom Cruise movie. He's actually very good in his role. Don't expect the world but it's a good flick.

- The Heat is an underappreciated comedy starring Sandra Bullock, who it turns out is still alive, and Melissa McCarthy. It's an eye roller when you read the description but the comedy is seriously on point.

Probably covers most major feelings. Netflix needs to get some new content tho.

I'll get into some of these soon enough. Thanks man.

BasedMinkus · 10-09-2016, 11:09 AM

Perfect Albums:
MBDTF - Kanye
Reasonable Doubt - Jay Z
King Crimson and The Court of the Crimson King - King Crimson
Headhunters - Herbie Hancock

that is it.

Spangle · 10-10-2016, 02:00 PM

If interested, you can still follow me on Letterboxd.

SPOILERS
4/10 - While not a truly horrific film, Warner Bros.' remake of the 1956 classic is simply bereft of anything that made the original so good while offering a truly fractured and tonally awkward film in its place. Originally directed by Oliver Hirschbiegel and written by Dave Kajganich, this troubled film was sent back for action movie and twist ending reshoots with director James McTeigue and The Wachowskis writing. This disjointed nature is truly evident as this film offers the occasional look at the paranoia and terror only to then abandon everything over-and-over again in favor of long action sequences.

The original was great because of the paranoia, the hopelessness, and the isolation inherent in its storyline. Taking place in a small out-of-the-way town, you knew there was no way help would ever arrive. The characters had to piece things together on their own and fight back. The Invasion takes this isolated premise, puts it in Washington DC and in the modern world where we are always connected. Interesting idea to update everything in this regard, but it ruins the aforementioned areas in which the original excelled. This could be okay if there was something offered up to help bolster the film up. Some true horror.

Luckily, there are a few scenes of panic. The film has interesting action set pieces with a few moments that really get your heart pumping along the way. These may be few and far between while entirely tacked on, but hey, they are there all the same. However, the problem is that these feel weightless. The entire time this one feel incredibly rehashed and "been there done that" to the point that nothing feels unique. I get the plot is not original, but it could have brought the original story to the modern day with some new elements while still bringing forth the horror of the original. Yet, this one is like every other political science fiction thriller on the market nowadays.

The worst way in which it updates it is with immunity and Dr. Ben Driscoll (Daniel Craig) guessing within 30 seconds what illness would have made somebody immune to the invasion. To state it again, the original had this hopelessness and this endless feeling to it, bolstered by the fact that we never see the invasion take any losses. It is undefeated in the original. For The Invasion, however, it is clear the studio determined that modern audiences could not handle such dread or anything nearly as bleak as the original. Rather, we must fight back because "for better or worse" we are human. Classic Hollywood. Nothing too dark, only the lightest possible conclusions are acceptable. While the opening is incredibly tense and well handled, the second the immunity is revealed, the film nosedives hard and not just turns into an action movie, but turns into a film unwilling to take chances, which is a terrible thing to be.

That said, on the positive end, the acting is good. I love Nicole Kidman, Daniel Craig, and Jeffrey Wright. As is expected, the trio do the movie more justice than it truly deserves. The first half is also very well done and shows considerable promise, in regards to delivering on this sense of mystery, dread, and horror, while also not just treading on the same plotline as the original. Though some of the same characters exist, the updates and changed roles are a welcome addition to make this one feel even fresher than just its setting.

The Invasion is a largely misguided remake that simply misses the essence of the original. It was not action movie. Rather, it was a terrifically executed political film that executed the science fiction part even better. Filled with dread, bleakness, and hopelessness, it underscored this in the way in which the film ended. Though humans were just figuring out what was happening, there was no way to know how to fight back. Here, Nicole Kidman makes breakfast for Daniel Craig and her, now, two sons while they play happy family.

Also, did anyone get 1984 vibes from this one? Essentially, this one argues that to be human, there must be war, anger, and hatred. Sounds a lot like "War is peace" to me, just saying...

SPOILERS
10/10 - All-time I have rated very few films a perfect 10. This is not a rating I take lightly. It has to be a film that is somehow immediately going to be among my favorite films of all-time. It has to be a film that not only has an immediate impact upon me while viewing, but is one that sticks with me. As such, it is rare for a film to be initially given a perfect 10. It is something that gets built up to over time when it dawns on me just how perfect the film truly was. A Nightmare on Elm Street is one of those films that I knew about halfway in, there was going to be some internal discussion about whether or not this was a perfect 10. With about 20 minutes left, there was no doubt in my mind whatsoever. A Nightmare on Elm Street is a horror behemoth. Few horror movies exist that are better than this film thanks to a thoroughly creepy atmosphere, otherwordly and inventive premise, horrifying score, and a knack for proving to be absolutely petrifying.

Quintessentially 1980s suburbia, A Nightmare on Elm Street's first achievement is creating likable characters and then dropping them in this supernatural world. Immediately, the audience identifies with these people and is equally confused by what is transpiring in the film. Never truly showing its cards as to the limits of this dream world that director Wes Craven has crafted, A Nightmare on Elm Street keeps you guessing even as you believe that you have begun to figure how things work. This is best showcased at the end where (I'M SET TO RUIN THE ENDING HERE) Nancy Thompson (Heather Langenkamp) declares that Freddy Kreuger (Robert Englund) is merely a dream and has no power over her in the real world. This logic is based upon her being told by boyfriend Glen (Johnny Depp) that there is a culture in which the entirety of their art and literature is created through dreams. For bad dreams, they turn their back to the monster and do not give it power, so they survive and the monster dies. A Nightmare on Elm Street sets you up with this element and provides what would have been a deeply unsatisfying ending in which Freddy dies and Nancy leaves unscathed. I want her to live, but not in some hocus pocus nonsense matter. Craven then brilliantly pulls the rug out from under you and you realize that this nightmare is not over, rather it is just beginning.

This dreamworld created by Wes Craven proves to be one of the most interesting worlds I have seen in a film as it is truly expansive and seems to defy all logic (in a good way). This world proves to make the entirety of the proceedings that much scarier, as you realize that Krueger is always lying in wait for his victims and just waiting for them to sleep in order to catch them. There is no escaping his creepy claw hands or his raspy warnings of your imminent demise. The fear instilled by the thought of Krueger is bolstered significantly by Charles Bernstein. Supplying A Nightmare on Elm Street with a truly tremendous score, Bernstein outdoes himself in assisting Craven to set the right mood with the right downright scary tones played during tense moments. If the events on the screen did not place you on pins and needles, then the ambiance supplied by Bernstein will do the job. Scary in its own right, the score of a horror film is usually the make-or-break element for me when it comes to judging its success. A Nightmare on Elm Street gets full marks.

Often times, a film can lose scariness over time just because it gets a bit cheesy at moments. Admittedly, John Carpenter's Halloween features some of these age spots. I loved it all the same, but it did hold it back from being even better (notice too the cheeky reference to Halloween when Krueger holds up a lifeless white mask that used to the face of Christina, his first victim). In A Nightmare on Elm Street, there are no age spots. No moment played comically, rather each punch thrown by Wes Craven lands with the force offered up by a heavyweight boxer. The end result is a film that leaves you feeling numb, on edge, and thoroughly unwilling to ever sleep again. It is a film that has aged gloriously and not just captures the feeling of 1980s suburbia perfectly, but also dumps you into this world to experience the events alongside the characters.

It is honestly weird. I love horror movies, obviously. However, I would not call horror my favorite genre. Yet, many of my favorite films (The Silence of the Lambs, Psycho, The Shining, and It Follows, for example) are horror films. Adding in A Nightmare on Elm Street, there seems to be a trend at the very top of my favorite films. All the same, when watching a film, I want to be impacted. I want to feel something. A Nightmare on Elm Street delivers on this as it sure as hell made me feel something. Watching this horror behemoth felt unlike any other viewing I have ever undertaken. It is an experience that will not let go and will undoubtedly haunt me in my dreams. Or is it my reality?

[Image: 220px-Das-Cabinet-des-Dr-Caligari-poster.jpg]

8/10 - If Tim Burton made a 1920s horror film, it would be The Cabinet of Dr. Caligari. Weird and a pitch dark portrayal of insanity and decidedly anti-war and anti-government, the classic silent horror film remains ever present thematically even when it lost it scares during the 96 years since it came out.

Writing about silent films is certainly not my strength, so I will focus on what I do know: design, theme, and the general look of the film. In regards to the design, the film's production design is incredible and plays heavily into the general expressionist look of the film. All of it feels so dreamlike. It makes the entire film feel wholly surreal and otherworldy, which is a good thing considering the end. The entire look is clearly influential, especially on the style of the aforementioned Burton, though he is not alone as this film most certainly makes the most of its dim lighting to help bolster the mystery. That said, the buildings and production design are certainly my favorite element of this film, as it really has an impact all its own and ties in perfectly to the overall story.

Thematically, The Cabinet of Dr. Caligari is incredible. An anti-war film about the dangers of being under the control of a dangerous government, something about this film makes me feel as though the writers would have been terrified by Nazi Germany. Often resembling the populace carrying out the deeds of those in charge, the true horror here is the realization that we are all Cesare. Additionally, the film's thoughts on perception are riveting, especially once the ending is revealed. This is a topic touched on by many films today (including some I have seen recently) and is a worthy discussion to have. Perception can both influence and cloud reality, as it most certainly does here. Given his state, the asylum inmate will obviously view Dr. Caligari as evil, but the amount that his perception is corrupted and haunting. In reality, he is just a patient and Dr. Caligari is his doctor. Honestly, given the general opinion of those mental illnesses back in 1920, it is shocking to see someone get such good treatment in a film from the era. Francis (Friedrich Feher) is never shown negatively, rather he turns into an incredibly sympathetic character, especially after we spent an hour plus in his head.

Overall, The Cabinet of Dr. Caligari is a classic. Nothing less.

7/10 - Cheesy as all hell, this tale of a giant blob from outer space that starts killing people in small town America is hilarious, tense, and above all, an enjoyable experience. The film Steve McQueen in his debut leading role as Steve Andrews, a teenager who stumbles across an old man being overtaken by the blob and then later witnesses the blob transforming into its final form. Except, nobody believes him.

With cheesy special effects, The Blob most certainly has aged since it came out, though I cannot imagine the effects were all that good to begin with. The film truly embraces the cheese through its climax and solutions to killing the blob. Either that was intentional or just the stupidest ending ever. I choose to believe the former, since the scene does show signs of tension and the film most certainly does have you on edge as Steve McQueen runs around this town trying to convince people that he is telling the truth. All of this occurs while you know the blob is wreaking havoc, though the kills are more comical than anything (especially the nurse what the fuck happened to her exactly?).

The opening is pretty classic teen movie fare with them cruising around town and getting into trouble, as well as the classic cop who has it out for all kids. In this way, The Blob has to be one of the earlier teen movies, as its setup is pretty run-of-the-mill. That said, it does execute it well as the teens bring a light and airy fun to the whole proceeding, while the cops, as usual, bring tension through their own skeptical nature. Plus, though the ending is silly, it entertains all the same.

Essentially, The Blob is a fun, middle of the road film that has aged pretty poorly, but is worth watching for the enjoyment factor and young Steve McQueen.

SPOILERS
5/10 - The Girl on the Train is an alright mystery thriller that feels as if it fully embraces its mediocrity by never attempting to make itself better, but makes little-to-no argument about being worse than average. Starring Emily Blunt as Rachel Watson, a divorced drunk woman who travels the train daily to keep busy, The Girl on the Train is a film with strong acting and an occasionally engaging plot, but far too much filler, lazy writing, a predictable ending, a dreary atmosphere, and is tonally awkward.

As it stands, it is a mildly engaging mystery, but feels far too cold and dreary to be anything spectacular. The darkness overwhelms the overall picture by shrouding it in this dark cloud. Much of this is lent to the film through Rachel's depression over losing her husband, Tom (Justin Theroux) to another woman, Anna (Rebecca Ferguson). The rest of this tone is lent through her depression over being a hopeless drunk who remembers nothing. While I have no problem with dark films, this one is just so overwhelmingly dark throughout, only to then wind up being tonally awkward at the end. When it is revealed that Tom is our killer, the film goes full-on cheese in the way he is killed by Rachel with Anna rubbing the salt in the wound. The entire film is dead serious only then to have a kill on the level of a campy and cheesy horror flick. In a theater full of old couples that murmured nervously when the trailer for M. Night Shyamalan's new film Split played, the audience in my showing LAUGHED. They laughed at the killing of this guy. He is an asshole, a murderer, an abuser, and an adulterer, but the killing and the spitting on the grave was so over-the-top, the audience found this moment hilarious. For a film that is so serious, having a laughable climax does not work.

What is worse is that there are few clues, if any, to Tom being the killer. It becomes predictable about half way through when it dawns on you that the three woman - Rachel, Anna, and Megan (Haley Bennett) - are our protagonists. The man who connects them all, Tom, is already known to be a cheater. In this world where all men are evil and violent (see: Scott Hipwell (Luke Evans) also being obsessive and abusive) and out to kill women, it becomes clear that this is a story with an ulterior motive. For many, this is Gone Girl redux. Yet, Gone Girl was decidedly not in favor of Rosamund Pike's character. The Girl on the Train keeps trying to make its female leads sympathetic to the audience and ultimately succeeds, which is why they deserved better than this nonsensical ending.

The filler and lazy writing certainly go hand-in-hand, namely through on-the-nose writing (Anna saying she misses being the "other woman", boy do I have good news for you! Wink

and throw away lines (Megan saying she heard that a train would rip your clothes off randomly, maybe a red herring or maybe just a line Tate Taylor liked from the book and decided to use....going to say the latter). Even worse, the film's idea of introducing us to its characters is a short scene followed by their name coming up on the screen. They could not even mention their name to introduce them, instead they just decide to tell you. The filler comes through largely through Megan. I swear Haley Bennett was exclusively naked in this film. Beautiful girl for sure, but damn...can you have a scene where either Justin Theroux or Luke Evans does not have sex with you? Edgar Ramirez resists the temptation, but only through sheer will as Bennett sucks his finger. For a film asking us to sympathize with her, it really should have not made her so adulterous. Scott Hipwell may be a jerk, but jeez...the entire film is just her cheating. The reveal of her dead child was done well, but does feel incredibly extraneous to the overall story. Good emotion and good acting from Bennett, but the film never really justifies its inclusion.

The plotting of The Girl on the Train is incredibly engaging, however. This is occurred largely through Blunt and good writing in this area. Her blackouts, the abuse reveal about Tom, and her general confusion are all handled well. The writing is spotty, but does very well in this area to develop Rachel and her past, which is a major win. Though it felt out-of-place, the development of Megan is also incredible. While there could be less sex scenes, the writers do a good job to develop her and explain why she is who she is to the audience. Still does not justify the cheating, but all the same, good job. The problems with the plotting is that its red herrings are obvious. Moments feel extra, such as confronting the guy she sees on the train who "follows" her one day. From the moment we first see this encounter, it is clear that this scene is a trick to make us assume this random guy is a killer. Instead, he is anything but, which could have been guessed by anybody.

As hinted at in this review, the ending is greatly unsatisfying. I want clues in my mystery, not just answers handed to me on a platter. While there are no clues, I could have lived with it if it did not feel so rushed. The film just dumps its result on you and expects you to like it because it is the ending. Not so. Tom is fine as the killer. He is an asshole anyways, but it needed more hinting beside just in the final half when we get bombarded over the head with how much of a monster he was to Rachel. Even worse, the over-the-top ending feels comical as mentioned before, which is deadly for a mystery film.

All of this said, The Girl on the Train is okay. I complained a lot, I know. However, Emily Blunt is just that good in this film. Plus, the character development of Rachel and how her illness was portrayed are major pluses for the film. All of this said, it needs a better ending, less filler, better development for other characters (Megan is good, again, but she needed to feel more integrated in the plot other than being the victim), and better justifications. As it stands, The Girl on the Train expects you to feel a certain way because, well, you just should. Unfortunately, it lacks the emotional impact and power to convincingly execute its deeply emotional and dramatic storyline.

As an aside, this is not anything like Gone Girl. People just assume this because it is a mystery with a female lead. Otherwise, these are wildly different films with incredibly different characters and plots. They basically go in opposite directions with minor similarities (cheating husbands) along the way.

6/10 - If Woody Allen made 1940s film noir, it would have looked a lot like The Curse of the Jade Scorpion. Though infused with his general brand of humor, the look, feel, and characters, are straight out of a noir film. That said, The Curse of the Jade Scorpion is certainly a lesser entry in his large filmography. While funny and quirky to the max, its too neat ending and cliche romantic element really undermine what could have been a charming crime comedy from the legendary director.

The film's strength is in its comedy. Woody Allen plays his typical neurotic and thoroughly odd character as C.W. Briggs, an insurance investigator. When paired up with Helen Hunt, a tough-nosed efficiency expert named Betty Ann Fitzgerald, the comedy gold keeps coming. With quick and witty banter between the two that often borders of some type of odd flirting, the duo have killer chemistry and the end result is terrific comedic banter. The insults lodged at one another do sometimes miss, but for the most part, the jokes land.

The crime mystery element of this one is also solid and thoroughly unexpected. While we know who is responsible, the film does have tension as you wait for everybody to figure this out. In this way, The Curse of the Jade Scorpion is a terrific example of dramatic irony. The film is 90% dramatic irony and it proves to be both funny and tense throughout. Admittedly, this is not a general plotline I have seen before where a hypnotist comes into play to this degree, but it does provide some good moments of tension, even if his plan falls through. As a criminal, his plan is obvious.

The biggest way in which the film is influenced by classic noir has to be in Charlize Theron's character. The costume design certainly shows influence, but it is clear that Theron's Laura Kensington is designed to be a femme fatale to a certain degree. She admittedly does not fit the role fully, but her makeup, hairstyling, costume, sensualness, and heavy smoking certainly made me notice the reference. That said, she does not necessarily lead her lover (Woody Allen lol) into dangerous situations, but she certainly does not help.

On the negative side, The Curse of the Jade Scorpion is held back by the ending. Trying to be more romantic than it is, the romance that blossoms here is never truly believable, though wholly telegraphed. I cannot tell if they meant to hide it or not, but my guess is that it was supposed to be a surprise. Instead, it makes the ending feel truly cheesy. The ending felt incredibly rushed and things come together quite quickly and behind the scenes before we see our criminal get his just desserts. For a film that did the comedy and mystery elements so well, the shoehorned in romance and quick resolution to the crime just did not fit and made the ending feel incredibly flat.

Overall, The Curse of the Jade Scorpion is an incredibly fun film. With Allen's trademark humor and his trademark character, it is an effective comedy and mystery. Largely dismissed by critics and even Allen himself as one of his worst works, I do really like The Curse of the Jade Scorpion. Though a lesser work of his, it showcases what he does well and gives a hint as to what a noir film from the comedy legend would look and feel like.

8/10 - After being quite mixed on Taika Waititi's previous film, What We Do in the Shadows, I was conflicted heading into Hunt for the Wilderpeople. The humor in his last film was solid, but spotty. Here, however, it is on point from beginning to end. Hunt for the Wilderpeople had me in stitches multiple times and, even better, had a terrific message about adoption, acceptance, and unconventional families. Starring Julian Dennison as the misunderstood and unwanted 13-year old Ricky Baker, the film pairs him with Sam Neill as Uncle Hec. Initially not wanting Ricky in his home, the bond forged between these two is undeniable. Plus, their chemistry together and comedic timing is perfect.

The film's biggest accomplishment is its characters. The script from Waititi breathes incredible amounts of life into these two oddballs who have both been resoundingly rejected by society, yet have so much to offer. The writing does a great job developing them as people that are thoroughly relatable, which makes the tale all the more heartbreaking. In particular, scenes in which Ricky is shown running away and being unhappy at his new foster home, are incredibly raw. Waititi does a good job to give them a light feeling, but the implication is truly heartwrenching. Aunt Bella (Rima Te Wiata) certainly helps these scenes, as her love for Ricky is clear, even if she just became his foster mother. Her joy over finally having a child she had wanted for so long is infectious and breathes life into the film even when her role dissipates.

Though two oddballs being thrown together is a typical trope, Hunt for the Wilderpeople executes it so well, it never feels cliche. Rather, it feels deeply real and the thematic musings regarding acceptance, adoption, and our notion of family, is terrific, especially when dealing with why this couple adopted Ricky. Unable to have their own children, they sought a foster child to fill this void. Though not everyone goes through this, the emotional impact of this reveal and the universal understanding showcase that these characters are real people. Authenticity in film matters and when these characters shown unhappiness or elation, it rubs off on the audience and their emotion is our own.

Comedically, the film is quite strong. Though there are quite a few fat jokes, the film never leans on them too much and bolsters its comedic offerings with a varied and smart take on the youth, people without a proper "family", and people who live disconnected from society. Though all serious topics, they are broached comedically and the jokes most certainly work. Waititi has such a quirky sense of humor, which this film displays, but unlike his previous feature, most if not all jokes land as intended.

A critical darling of the summer, Hunt for the Wilderpeople is a touching, funny, and emotional journey of escape, acceptance, and family. It is not hard to see why this one attracted such acclaim, given its incredible characters and light-and-fun approach to its deeply serious topics. On a side note, I almost saw this in theaters. Given the impeccable cinematography in which Waititi lifts a page out of Peter Jackson's book and inserts shots of New Zealand porn, this one would have been incredible on the big screen. Tragically, the local cinema's projector was not working and it was the last weekend for the film in theaters. Anyways, at least I finally saw it! Also, WHY DOES EVERY FILM WITH A DOG HAVE TO KILL THE DOG? WHY, MOVIES? WHY?

Spangle · 10-10-2016, 02:09 PM

Quote:Originally posted by easymoneysniper@Oct 8 2016, 11:26 PM

I'm in Canada, and anything really. I just want a really good story line.

Using allflicks.net to figure this out. Some of the better ones I can find...

Life Is Beautiful - Italian film, if that matters to you. Beautiful though and incredibly sad.

The Hunt - Danish film. Will piss you off guaranteed. Great drama with a killer performance from Mads Mikkelsen.

Short Term 12 - Brie Larson and Rami Malek are in this one. Terrific little indie film that will make you laugh, cry, and be thoroughly entertained. One of those movie that I hated it had to end.

Beasts of No Nation - Great war film from last year with Idris Elba.

Me and Earl and the Dying Girl - Tragically overlooked coming of age comedy-drama from last year. Funny and sad.

Bone Tomahawk - The internet loves this one. I liked it enough, but it is a really cool blend of horror and western with one of the most graphic scenes in the history of film, bar none.

A Most Violent Year - A slower crime drama with Oscar Isaac and Jessica Chastain. Beautifully shot and one of the better crime films in years.

It Follows - One of the few I'd give a 10/10 to. Terrific horror film that is a bit of a slow burn, but has a universally loved score, even if some are mixed on how scary it is. Personally, it scared me, but to each their own.

Sidebar: Netflix Canada > Netflix USA. Y'all have way better movies than us...

Maxy · 10-10-2016, 02:49 PM

I'm a huge nightmare on elm st fan. My favorite horror series as a kid and even went as Freddy for Halloween one year but I honestly didn't think the first film was that good. It just doesn't age well imo

Spangle · 10-10-2016, 02:58 PM

Quote:Originally posted by Maxy@Oct 10 2016, 02:49 PM
I'm a huge nightmare on elm st fan. My favorite horror series as a kid and even went as Freddy for Halloween one year but I honestly didn't think the first film was that good. It just doesn't age well imo

Really? Interesting. From what I've read, it's largely seen as far and away the best by most. In what ways would you say it didn't age well? It is 32 years old, so it does look aged in some ways, but I still found it thoroughly terrifying.

Maxy · 10-10-2016, 04:05 PM

Quote:Originally posted by Spangle@Oct 10 2016, 01:58 PM

Really? Interesting. From what I've read, it's largely seen as far and away the best by most. In what ways would you say it didn't age well? It is 32 years old, so it does look aged in some ways, but I still found it thoroughly terrifying.

Most of the visual effects have just not aged gracefully imo. One of the worst is the very last scene with Nancys mom and the window which is more comical than anything now. The premise is terrifying, Robert Englund is masterful but the actual movie just isn't as scary as it once was to me. I find the 2nd one to be massively underrated, the 3rd one is my favorite personally. 4th is good beyond that is really hit and miss though. Wes Cravens New Nightmare is the one I'd consider the most terrifying though

Spangle · 10-10-2016, 08:57 PM

Quote:Originally posted by Maxy@Oct 10 2016, 04:05 PM

Most of the visual effects have just not aged gracefully imo. One of the worst is the very last scene with Nancys mom and the window which is more comical than anything now. The premise is terrifying, Robert Englund is masterful but the actual movie just isn't as scary as it once was to me. I find the 2nd one to be massively underrated, the 3rd one is my favorite personally. 4th is good beyond that is really hit and miss though. Wes Cravens New Nightmare is the one I'd consider the most terrifying though

Personally, I didn't find those comical at all. Compared to Halloween, A Nightmare on Elm Street has aged gloriously. I liked Halloween, but Jamie Lee Curtis is terrible and there's a ton of comedy in that one. For A Nightmare on Elm Street, there was not a noticeable amount for me. I haven't seen the others, but the first one - for me - was just perfect. Great score, great atmosphere, terrific scares, and solid acting. Who could pass up on seeing Johnny Depp swallowed by his bed?

easymoneysniper · 10-10-2016, 09:39 PM

<a href='index.php?showuser=3' rel='nofollow' alt='profile link' class='user-tagged mgroup-50'>Spangle</a> thanks a lot, I have tons to watch now.

BANNING · 10-14-2016, 10:33 PM

The Lost Honour of Christopher Jefferies was an excellent Netflix watch

BANNING · 10-14-2016, 10:37 PM

<a href='index.php?showuser=3' rel='nofollow' alt='profile link' class='user-tagged mgroup-50'>Spangle</a> - of the 3 major Oscar Isaac movies, which did you prefer? Ex-Machina, Inside Llewyn Davis, or A Most Violent Year?

I thought all were good but none were great? It probably goes Inside, Violent, Machina for me. Oscar Isaac is one of my favorite coming stars, I can't see how he misses as a long-term draw.

Also, as an aside, I love how this scene undermines Rylo Ken long term.

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BasedMinkus · 10-14-2016, 10:38 PM

I watched The Accountant last night

I feel like I don't know what constitutes a bad film because I enjoyed it a lot

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