The Unofficial Ongoing Current Movies in Theaters thread

[dookeyXXX]

Pretty intrigued by Dream Scenario. The kids really wanna see it so that’ll be a theater watch.

Also cautiously interested in Poor Things.

I am looking forward to this flick as I have really dug all of the director’s previous films with perhaps the exception of his very first film…

[dookeyXXX]

Finally saw FLOWERS OF THE KILLER MOON today.
Will ruminate further tomorrow, but found it interesting that Scorsese had at least three well known alt-country/indie folk musicians in pretty prominent roles: Jason Isabell, Pete Yorn, and Sturgill Simpson. Plus Charlie Musselwhite and Jack White pop up onscreen, as well.
I didn’t recognize a single one in the film, but their names certainly popped out in the end credits.

[dookeyXXX]

FULL CIRCLE

https://fullcirclefilm.co/

I checked out this Level 1 production at the cinema over the weekend.
It’s pretty solid.
It attempts to draw a correlation between skier Barry “Corbet’s Couloir” Corbet and snowboarder-turned-skier Trevor Kennison. While the similarities are there, the connection between the two men could have been better fleshed out, imho. But that’s me seriously nitpicking.
I was enthralled by the film from the opening moments, got chills during several sequences, teared up more than once, and yelled out loud either “WTF” or “Oh Shit!” and several other expletives of incredulity in the theater quite regularly (I was the only one in the theater, btw).
Kennison is a badass.
But the film isn’t just a bunch of super sick ski porn segments (and believe you me, there are plenty of those), it delves into some of the nuances of spinal injuries that most able bodied folks—myself included—probably have no clue about.
Highly recommended not just for avid snowsports enthusiasts, but anybody into heartwarming and heart pounding documentaries.

Check the link at the top to see if it’s showing near you and go see it!

[Woodsy]

Thinking about going to se this new TGR movie https://www.tetongravity.com/films/legend-has-it in a theater, Capitol Theater in Port Chester NY to be exact.

ANyone else?

Anybody seen this tour? irresponsible to take grom on a school night?

[Woodsy]

Finally saw FLOWERS OF THE KILLER MOON today.
Will ruminate further tomorrow, but found it interesting that Scorsese had at least three well known alt-country/indie folk musicians in pretty prominent roles: Jason Isabell, Pete Yorn, and Sturgill Simpson. Plus Charlie Musselwhite and Jack White pop up onscreen, as well.
I didn’t recognize a single one in the film, but their names certainly popped out in the end credits.

Isbell and Sturgill were instantly recognizable to me having seen them both live a bunch and had good roles

[Supermoon]

I enjoyed Flowers quite a bit, but I think any movie over three hours should have an intermission. I had to guess on my bathroom break

[dookeyXXX]

I enjoyed Flowers quite a bit, but I think any movie over three hours should have an intermission. I had to guess on my bathroom break

I saw KotFM this past Saturday at a 10:30 am screening. I ate breakfast around 7 and then abstained from drinking anything after that. I peed right when I got to the theater and then did another piss break during the last of the trailers (in Reno/Sparks the trailers and ads run about 20-25 minutes).
I made it through the whole film without having to pee.
And honestly, it didn’t feel like a 3 1/2 hour film.

All of that said, I totally agree with you about an intermission.

I’ll save my Martin Scorsese needs an intermission rant for another time, but yesterday I checked out this Hindi Bollywood flick Tiger 3.
It is only 2 hours and 30 minutes long and it had a built in intermission! At the hour mark the word “intermission” melted into the scene, the screen went white with a big red “INTERMISSION” logo and a 10-minute countdown clock. The film, which is an over-the-top action film reminiscent of vintage Arnie films, certainly didn’t need an intermission, but I got up and stretched the legs and went to the bathroom nonetheless.
I have only seen Bollywood films via streaming and none of them have had intermissions; not sure if they take the intermission out of the streaming version or not.

Anyway, my point being that a major Bollywood production that is only 2 1/2 hours long had an intermission, yet a 3 1/2 hour Hollywood film does not…

[Supermoon]

Yeah, I think that an intermission would add to some movies’ experience. Make it clearly different than F&F 15 or whatever Marvel crap is out there. Most of them have a spot between acts that would feel natural to have a short break

[dookeyXXX]

Shit, every live theatre two-act play that is 90-minutes long that I have ever seen has had an intermission at the end of the first act…

[mcski]

I can’t remember the last time I went to a movie with an intermission but I’m guessing it was back in the 80s

[dookeyXXX]

I can’t remember the last time I went to a movie with an intermission but I’m guessing it was back in the 80s

Aside from Tiger 3 yesterday, the only other modern film I have seen that had an intermission was Tarantino’s 70mm Roadshow version of The Hateful 8. It had an overture, as well.

The only other film with an intermission that I remember seeing in the theater was Lawrence of Arabia, which I have seen in the theater at least 3X when it has been re-released for various anniversaries.

[dookeyXXX]

Here’s a Men’s Health artitorial (or edicle?) about intermissions.
Though the writer failed in their research about the last “official” film with an intermission, since The Hateful 8 had one…

https://www.menshealth.com/entertain...hy-bring-back/


My beef with Scorsese is that he is a cineaste, a cinephile, an auteur, and a film preservationalist. He knows about the history of cinema and grew up watching many of the classics which had intermissions. Gone With The Wind, Ben Hur, and Lawrence of Arabia are all roughly the same running time as KotFM and all of them have intermissions.
Additionally, he is aware that cinema arose from and is directly influenced by live theater. Just about every live theater production that is at least two acts has an intermission after the first act.
So, my beef is he stated folks can binge 5 hours of a TV show so they should be able to sit through a 3+ hour film.
That is the falsest of analogies given that very few people will sit completely still for that long. Never mind that they are most likely streaming at home, so they can pause to go to the bathroom, get a snack, etc.
When watching a movie at the theater you can’t pause it to do those things, which is the appeal of going to the movies (aside from potential audience interaction): to become fully immersed in the film. If you have to pee part way through, it ruins the immersion.

Shit, I had to pee midway through Barbie and missed her scathing feminist manifesto speech! And that movie was a brisk 114 minutes in length (KotFM is 206, btw).

[mcski]

I was thinking either Gandi or Reds was the last one I had experienced! I knew Reds had one for sure, but wasn’t positive there was one in Gandi

[dookeyXXX]

I don’t remember the intermission in Gandhi…never saw Reds

[Meadow Skipper]

I saw KotFM this past Saturday at a 10:30 am screening. I ate breakfast around 7 and then abstained from drinking anything after that. I peed right when I got to the theater and then did another piss break during the last of the trailers (in Reno/Sparks the trailers and ads run about 20-25 minutes).
I made it through the whole film without having to pee.
And honestly, it didn’t feel like a 3 1/2 hour film.

All of that said, I totally agree with you about an intermission.

I really liked KotFM, but Scorsese could have all of us some time by rethinking and probably leaving out that last 15-20 minute radio show summary. I didn’t like that at all.

[dookeyXXX]

I really liked KotFM, but Scorsese could have all of us some time by rethinking and probably leaving out that last 15-20 minute radio show summary. I didn’t like that at all.

I actually enjoyed the radio show schtick because it was so leftfield and unexpected. That said, it was way more Wes Andersonesque than Scorsesesque.

I coulda done without the courtroom sequence(s) and Brendan Fraser’s overcooked ham acting, though.

With this film and Once Upon A Time In Hollywood, I am finally beginning to warm up to Leonardo (I have never been overly fond of him as an actor).

[Meadow Skipper]

With this film and Once Upon A Time In Hollywood, I am finally beginning to warm up to Leonardo (I have never been overly fond of him as an actor).

What?!? Please. I submit he’s superb in The Departed, and The Revenant. Fight me.

Aaand, The Wolf of Wall St. Gangs of NY, Revolutionary Road, The Basketball Diaries, and Gilbert Grape were really good works on his part…IMHO.

[mcski]

I don’t know, I just watched grape for the first time recently and kinda felt he went full retard

[dookeyXXX]

What?!? Please. I submit he’s superb in The Departed, and The Revenant. Fight me.

Aaand, The Wolf of Wall St. Gangs of NY, Revolutionary Road, The Basketball Diaries, and Gilbert Grape were really good works on his part…IMHO.

I’ll concede to both The Departed (I actually felt this American remake was better than the HK original) and The Wolf of Wall Street.
I was not enamored with nor a fan of either The Revenant or Gangs of New York.
I have not seen either Revolutionary Road or What’s Eating Gilbert Grape.
As for Rhe Basketball Diaries, I am a HUGE fan of the book and the film failed miserably to capture the depravity of Jim Carroll’s opus and Leo was miscast, imho.

[dookeyXXX]

I don’t know, I just watched grape for the first time recently and kinda felt he went full retard

I see what you did there…

[dookeyXXX]

MANODROME
This is a slow burn psychological drama examining the allure of incel slanted camaraderie and white male angst.
Shades of Taxi Driver (and numerous other Paul Schrader penned films), Fight Club, Good Time, Uncut Gems, You Were Never Really Here, and even Midnight Cowboy percolate between the frames.
Both Adrian Brody and Jesse Eisenberg give smoldering performances.

[dookeyXXX]

THANKSGIVING
Eli Roth’s 16-years-in-the-making holiday horror opus jumps out the gates with one of the most intense and unnerving opening sequences since Final Destination 2. Just at the latter’s highway fiasco prompted me to avoid driving behind large semi-trailers, here Roth makes a valid argument for staying home on Black Friday.
Sadly, after such an auspicious beginning, the film slides into familiar 1980’s styled slasher ho-hum. If nothing else it makes one realize that Roth isn’t a terribly creative filmmaker, but more of a quasi-brilliant mimic; a fanboy who knows his way around a film set and how to wield a camera. This isn’t to say that Thanksgiving doesn’t deliver--it cdertainly brings the gore and red herrings galore--but it also doesn’t bring anything new to the genre, rather instead it seems content stitching together familiar tropes, broad stroke characters, and a predictable outcome. To be fair, I didn’t outright guess the identity of the killer (although the character in question was in my Top 5 Candidates list), but when the reveal came it was somewhat anticlimactic.
Granted, Roth did a decent job of throwing red herrings around like shark chum and even has a character drop a line about “it’s all in the details,” but I got distracted by the gore and spent way too much time trying to figure out the tone of the film (i.e. was it meant to be social satire, horror film ironicalness, or serious slasher?).
Yet despite it’s flaws, it’s an entertaining enough splatterfest that moves along at an even pace, possesses some solid practical effects, and a few moments of artistic aestheticism (the hallway scene in the local high school is shot and framed really nicely).
If nothing else, see it for the opening salvo. It’s a doozy.

[dookeyXXX]

THE HOLDOVERS
Alexander Payne’s latest directorial effort is a throwback, both in style and substance. It reminded me of films like The Graduate and Five Easy Pieces. It’s even filmed in a manner to suggest that it might be a lost cinematic entry from 1971, grainy film look and all. Yet for all its retro mannerisms, the film is essentially a modern update on the Scrooge story: curmudgeonly outsider finds love and laughter thanks to the “interference” of a few quirky characters. Familiarisms (i.e. cliches and the film is rife with them) aside, it succeeds thanks to a brilliant cast, smooth pacing, and some wonderfully sharp dialogue courtesy of screenwriter David Hemingson.
it will probably resonate more with East Coasters, specifically those from New England (and who went to boarding school), but these are not prerequisites to enjoying the film.
Definitely worth seeing in the theater. And totally worth adding to the annual Holiday Film List.

[dookeyXXX]

NEXT GOAL WINS
Taika Waititi’s latest non-Marvel effort is a mixed bag that never really figures out its tone, yet still manages to coast along and be entertaining. As with the aforementioned The Holdovers, it too is a throwback. In this case, the film belongs to that sub-genre known as underdog sports team comedy films—think The Bad News Bears or Cool Runnings, and like the latter sometimes the humor seems to be at the expense of the people the film is ultimately about. It’s a film that contains a wealth of misfires, from Waititi’s showing up in a fu manchu mustache and overbite false teeth to Michael Fassbender spending the opening scenes sporting what looks like a fake beard, not to mention elements of humor that are often at odds with the drama; in short the film lacks any of the wimsy and sly wit of his earlier fare like Boy or Hunt For The Wilderpeople,nor does it nail the absurd insanity of Jojo Rabbit. Yet when Waititi dials it in, the film can be laugh-out-loud funny as well as tear wellingly heartfelt and dramatic. It’s just that those moments are erratic.
If nothing else, the film has me wanting to see the documentary (of the same name) that it is based on.
Not terribly worth seeing on the big screen.

[dookeyXXX]

***Review contains minor spoilers


SALTBURN
If nothing else, screenwriter/director Emerald Fennell, while not terribly original, is keenly adept at taking hot, trigger topics and molding them into B-movie genre films aimed at snobbish folks who would never watch a true B-movie genre film,
Her debut feature, A Promising Young Woman was basically an I Spit On Your Grave revenge thriller gussied up with high profile actors and a budget. Granted, it was one of the first MeToo centric films to grace theaters, but it was still an exploitation film nonetheless.
With her sophomore effort, she’s jumping on the bandwagon of the skewer-the-rich thematic that was all the rage last year with films like The Menu and Triangle of Sadness. As with her previous effort, when all of its layers are peeled away, Saltburn reveals itself to be a grimy B-movie masking as sumptuous arthouse fair. And for the first two thirds it succeeds in fooling the viewer thanks to a wonderful cast and some visually stunning cinematography. Sadly, in the third act it devolves into sordid serial killer schlock of the Lifetime variety, not to mention a Columbo-styled whodunnit wrap-up that, quite frankly, insults the viewer. Oh and astute viewers will no doubt realize that the film is basically an update on Patricia Highsmith’s Ripley series of novels (and all the subsequent films that have been adapted from them).
Yet the first two thirds of the film are bravura, at least visually (the initial story itself is the cliche ridden poor kid befriending rich kids trope) creating a mesmerizing environ that envelopes the viewer in lush debauchery and Shakespearean melodrama.
Mildly worth seeing on the big screen for the sumptuous production design, just be prepared to weather a clunky conclusion.