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  1. #26
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    Green Book just came out , so It's reserved. Looks worthy.
    The Equalizer last night from the library. Can't believe I missed it first time around. Great Boston movie.
    Bacon tastes good. Pork chops taste goood.

  2. #27
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    Vox Lux - 2.5 / 5. An interesting premise to for the first 1/4 of the movie. Then it kinda turns into Ghostbusters; weird shit, followed by an extended performance by Gozer.

  3. #28
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    SPIDER-MAN: INTO THE SPIDER-VERSE
    4/5

    The hype surrounding this film is not hyperbole, that's for sure.
    This film is straight bonkers from the get-go.
    A veritable whirlwind of eye candy and pure comic book bravado, it succeeds due to whip-quick pacing, a solid sense of humor (much of it derived from Harold Lloyd silent films and classic Looney Tunes cartoons), some great meta-moments, and some of the most bristling action sequences ever put to screen.
    It also pays homage to just about every incarnation/era of Spider-Man imaginable.
    I would have given it a full 5 out of 5, but the animators/directors opted for this blurry background look that was not only annoying, but incredibly distracting. I read an article saying that they were going for the blurred, pastel-tinged watercolor look of traditional anime, so I understand what they were aiming for, but frankly they missed the boat. Plus it gave me a headache.
    Other than feeling like my eyes were out of focus 50% of the time, the film crackles with verve and a keen sense of how to actually (and expertly) translate the often goofy elements of comic books to the cinema.
    All of the voice actors are awesome, too, and there's a couple of surprises in that regard, as well (the Noir Spider-Man is hilarious)
    If you dig superhero films, this is easily one of the best to come out in quite some time and puts most of the live-action ones to shame (interesting to note that Sony released two Spider-Man oriented films in 2018; one was one of the worst films of the year (Venom) and the other was one of the best (this one)).
    "Man, we killin' elephants in the back yard..."

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  4. #29
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    Quote Originally Posted by dookey67 View Post
    SPIDER-MAN: INTO THE SPIDER-VERSE
    4/5

    The hype surrounding this film is not hyperbole, that's for sure.
    This film is straight bonkers from the get-go.
    A veritable whirlwind of eye candy and pure comic book bravado, it succeeds due to whip-quick pacing, a solid sense of humor (much of it derived from Harold Lloyd silent films and classic Looney Tunes cartoons), some great meta-moments, and some of the most bristling action sequences ever put to screen.
    It also pays homage to just about every incarnation/era of Spider-Man imaginable.
    I would have given it a full 5 out of 5, but the animators/directors opted for this blurry background look that was not only annoying, but incredibly distracting. I read an article saying that they were going for the blurred, pastel-tinged watercolor look of traditional anime, so I understand what they were aiming for, but frankly they missed the boat. Plus it gave me a headache.
    Other than feeling like my eyes were out of focus 50% of the time, the film crackles with verve and a keen sense of how to actually (and expertly) translate the often goofy elements of comic books to the cinema.
    All of the voice actors are awesome, too, and there's a couple of surprises in that regard, as well (the Noir Spider-Man is hilarious)
    If you dig superhero films, this is easily one of the best to come out in quite some time and puts most of the live-action ones to shame (interesting to note that Sony released two Spider-Man oriented films in 2018; one was one of the worst films of the year (Venom) and the other was one of the best (this one)).
    Loved it. I was blown away.

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  5. #30
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    The Favorite - 4/5 - Was worried it was going to be some sort of bullshit period piece. It's not. Pretty entertaining moderately dark comedy.

    Overlord - 3 / 5 - It's like JJ Abrams decided to throw some money at a B movie. It has the goofy plot, gratuitous gore, and bad acting of a B movie, but with better special effects. Which makes it both terrible and entertaining, all at once.

    Green Book - 4 / 5 - the criticisms I've seen are fairly accurate - it touches some difficult subjects with a soft hand, which presents a simplistic and glossy overview of social issues in the 60's. But even though the movie isn't particularly hard hitting, it gets its point across and is entertaining along the way, without overloading on sappiness.

  6. #31
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    The Mule. Clint is the man, again.
    Gran Torino but better. Running coke for vatos, Andy Garcia as king pin. Great scene at the Hacienda in Mexico. Earl could be a maggot, albeit a pretty old one

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  7. #32
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    GLASS
    4/5

    I was really surprised by this one.
    I am not a fan of M. Night by any stretch (I think he is overrated and conceited, at least in regards to his films, dunno about him as a person), but this film rocks (with the exception of the director's lame cameo that continues to prove that he cannot act and that he should give up trying to be Hitchcock...even DePalma, one of the great Hitchcock wannabes, had the good sense not to place himself in his films!).
    That said, I really dug some of the camera angles, the off-center close-ups, and the metaness of the story, which plays around nicely with the whole comic book mystique and mythos.
    I never really liked Unbreakable that much (may have to revisit it, though), but I kinda dug Split, the two previous entries in what is now a trilogy. I think this entry is better than either of those; it's a nice surprise.
    Granted, the ending is a bit trite (they could have ended it about 10-minutes earlier, but I have a feeling that M. Night felt the need to placate the audience, I guess (either that or he just thought we were too stupid and needed clarification...I actually wouldn't put that thought past M. Night...)).
    At any rate, solid acting, great directing, well paced, and a nice alternative to all the Marvel/DC superhero movies (a lot darker and had a decidedly non-sterile/non-homogenous look and feel to it).
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  8. #33
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    Im too lazy to look, but has he even had a hit since 6th Sense? He seems like a bad imitation of his own work.

  9. #34
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    Quote Originally Posted by mcski View Post
    Im too lazy to look, but has he even had a hit since 6th Sense? He seems like a bad imitation of his own work.
    Damn you!
    I took the bait and scoured the M. Night Wiki page.
    Apparently his previous 2 films, Split and The Visit, were both fairly well-received by critics and both made money. Interesting to note that many of M. Night's films are made for well under 20M (this was what Glass cost, but Split and The Visit were both made for less than 10M; The Visit: 5M; Split: 9M). So, even if his films suck, they still seem to make money because he's cranking them out rather cheaply by today's standards (i.e. when a major film costs upwards of 150M).
    Glass was panned by critics, but still made $$$.
    So, while his films may not be considered hits with critics (and most audiences), they are still turning a profit, which explains why he is allowed to keep making them.

    Heck, even his turd The Last Airbender made money! (not so much After Earth, though).
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  10. #35
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    Didn't mean to inflict that on you. He's like the baseball player that's been stuck in triple a for 20 years. He does ok there, but he can't stick in the bigs

  11. #36
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    DRAGGED ACROSS CONCRETE
    4/5

    The third feature from writer/director S. Craig Zahler (Bone Tomahawk, Brawl in Cell Block 99) is a stoically comedic (I guess that would more or less be semi-deadpan) take on the buddy cop formula. But those expecting rambunctious hi-jinx and loud explosions can look elsewhere; this is a heavily dialogue-driven exploit. In fact, it's the bristling dialogue and the strange chemistry between leads Vince Vaughn and Mel Gibson that will keep you glued to the screen. Zahler does wonders with the rhetorical device of repetition, from Vaughn's character's inability to swear (he says "anchovies!" when he gets frustrated) to Gibson's character continually spouting percentages in terms of projected success in the duo's endeavors, to one of the bad guys stating "It's all cotton candy", the verbal patter throughout the film is entertaining and sharp. And the unexpected elements of ultra-violence help to shake things up every now and then. This isn't to say that there aren't a few missteps, most notably a somewhat heavy-handed commentary on police brutality and the internet/cellphone generation. And some scenes feel forced or out-of-place (the separation anxiety riddled bank teller sequence, for example). In many ways the film could have benefited from a sharper sense of editing (it could easily have been trimmed by a good 30 minutes and still maintained it's unnerving sense of slow-burn intensity). Overall it displays the mundanity and repitition of most police work (the long stakeouts, lots of “pounding the concrete”, etc.) which is randomly interrupted by moments of sheer violence. In the end, as stated above, this is a film largely driven by dialogue and the richly nuanced patter spoken by all involved should be enough to keep one engaged til the end.




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  12. #37
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    If you dug Get Out, then Jordan Peele's latest, US, is worth a viewing.


    US
    4 / 5
    A serious tweak on the doppleganger/Prince and the Pauper mythos this flick reminded me an awful lot of The Sixth Sense, in that the bait-and-switch trickery is revealed early on and continually hinted at throughout the film, but the somewhat confusing story and nail-biting intensity combined with ultra-fast pacing served as excellent red herring diversions. That said, I felt kinda stupid for missing all the obvious signs when the twisted reveal drops at the end. I’m still trying to wrap my head around the pointed social commentary lurking in the subtext (it’s not as obvious as Get Out), but there’s lots of jabs at “keeping up with the Joneses”, nature vs. nurture, and primal urges vs sophisticated ones. Quite a few holes emerge in the story once you spend time ruminating on it post-viewing, but it’s a taut and intense horror thriller that I feel is worth a second viewing.
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  13. #38
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    Haven't watched it yet, but just got *Sorry to Bother You* from Library.
    Did you see it yet? Being as how it's coming out of hip hop culture, and whatnot...

    Should be good, right? A comedy.
    First movie from Boots Riley, of *the Coup*, so gonna be hella right-on politically we suppose...

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  14. #39
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    What's Good At The Box? The Redbox Recommendation Thread

    Quote Originally Posted by willywhit View Post
    The Queen Movie and the Lady Gaga movie were great but I think I need to buy this on blu ray
    Mud. Havenít seen it in a few years, but I recall watching it a second time shortly after the first viewing and being happy I did. Great shots/use of the landscape of the setting.
    Last edited by Self Jupiter; 07-07-2019 at 04:57 PM.

  15. #40
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    Quote Originally Posted by TurxSki View Post
    Haven't watched it yet, but just got *Sorry to Bother You* from Library.
    Did you see it yet? Being as how it's coming out of hip hop culture, and whatnot...

    Should be good, right? A comedy.
    First movie from Boots Riley, of *the Coup*, so gonna be hella right-on politically we suppose...

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    Saw it 2x in the theaters!


    Blindspotting is another great one that takes place in Oakland, too
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  16. #41
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    Quote Originally Posted by Self Jupiter View Post
    Mud. Haven’t seen it in a few years, but I recall watching it a second time shortly after the first viewing and being happy I did. Great shots/use of the landscape of the setting.
    Great film, although I have not seen it at any of my local Redboxes. I have seen it on Amazon Prime, though...
    "Man, we killin' elephants in the back yard..."

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  17. #42
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    I saw that Beach Bum is in the box but I havenít seen it yet.

  18. #43
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    Midsommar - totally agree with Dookey's take on it. The entire movie is entirely predictable, but it still keeps you wrapped in and anxious the entire time. It's not if it will happen, it's when. And how. The tone of the movie is just so perfectly tense, from the dialog, to the score, to the way the camera moves and the bright but yet bleak color tones. It's worth a watch, even for those that traditionally avoid the horror genre (which this movie only falls into by virtue of proximity, and due to it not fitting particularly cleanly into any other genre).

  19. #44
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    Quote Originally Posted by toast2266 View Post
    Midsommar - totally agree with Dookey's take on it. The entire movie is entirely predictable, but it still keeps you wrapped in and anxious the entire time. It's not if it will happen, it's when. And how. The tone of the movie is just so perfectly tense, from the dialog, to the score, to the way the camera moves and the bright but yet bleak color tones. It's worth a watch, even for those that traditionally avoid the horror genre (which this movie only falls into by virtue of proximity, and due to it not fitting particularly cleanly into any other genre).
    That's next on my list. A friend recommended Serenity. It doesn't disappoint

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  20. #45
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    Mud was good. This is great.
    IMHO
    https://youtu.be/OOkVH0pNoZk

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    Bacon tastes good. Pork chops taste goood.

  21. #46
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    I've got Serenity in my Prime queue.
    But damn did it ever get slagged by the critics!

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  22. #47
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    Slagged?? "I'm a leaf in the wind" -- that Serenity????

    How did they get away with naming that decomposing pile of digital electrons after the Wheedon classic??

  23. #48
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    THE ART OF SELF DEFENSE
    This dark and often surreal comedy walks the line between deadpan brilliance and over-the-top outlandishness. On the surface, TAOSD is an absurdist jaunt into the life of a glorious sad sack who finds redemption in karate. Kind of. The film is teeming with foreshadowing and, in a way, is pretty predictable, but it moves at such a wonderfully succinct pace that you kind of forget about the breadcrumbs that have been dropped until BAM! they smack you in the face and you say “Damn, I should have seen that coming!”.
    Jesse Eisenberg plays the socially awkward protagonist to great effect, perhaps a smidgen over-the-top in terms of how stiff and detached he is from reality and social norms. Then again, that seems to be the film’s major ploy: fucking with the balance of impassive and camp. Imogen Poot is equally enthralling, giving an earnest, yet smoldering performance. And Alessandro Nivola as the off-kilter karate sensei is wonderfully malevolent.
    On top of it all there’s plenty of good old ultra-violence sprinkled throughout, which offsets the droll satire nicely and helps create an atmosphere where you never really know what’s going to happen next. Okay, I did mention all of the blatant foreshadowing leading up to predictable moments, but the violence often works as a jarring red herring.
    If you like your comedies swinging from the gallows, but in an irreverent and left-of-center manner then this is an entertaining and engaging effort.

    RIYL: The Lobster; Safety Not Guaranteed; After Hours; Withnail & I; Repo Man




    PS
    the director's previous film, Faults, is streaming on Amazon Prime and I highly recommend it, as well.
    "Man, we killin' elephants in the back yard..."

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  24. #49
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    The art of racing in the rain. Produced by Patrick Dempsey if you know about his career Beyond acting. Good stuff

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    Bacon tastes good. Pork chops taste goood.

  25. #50
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    FAST & FURIOUS PRESENTS: HOBBS & SHAW

    This F&F offshoot is gloriously ridiculous and incredibly stupid, but in a most awesome way.
    Absolutely leave your Suspension of Disbelief Barometer at home, otherwise you'll be disappointed.
    While not quite at the level of XxX: The Return of Xander Cage (H&S doesn’t have Donnie Yen), this film is still teeming with so much over-the-top badassness that it’s inescapably enjoyable.
    A large part of the joy of this film resides in the acting and chemistry of the four leads--Dwayne Johnson, Jason Statham, Vanessa Kirby, and Idris Elba. Each of them seems to be having a blast and while they appear to be taking the material somewhat seriously, there’s also a bit of a gleam in their eyes as if to say “yeah, we know this shit is ridiculous, but it’s still cool.” In short, they know that the entire production is a giant, multi-million dollar piss take on the action genre, but they are wholeheartedly invested. And since they are obviously with the program, you, the viewer get easily swept up on the madness.
    Make sure you suffer through the credits as there’s 3 post-credit scenes.

    RIYL
    XxX: The Return of Xander Cage; Kingsman; Fast & Furious 6; Furious 7; The Fate of the Furious
    "Man, we killin' elephants in the back yard..."

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