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  1. #1276
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    BODIES BODIES BODIES
    Imagine Agatha Christie’s And Then There Were None crossed with Bret Easton Ellis’s Less Than Zero, yet teeming with blaring electro rap and aimed squarely at Millennials and Gen-Zers weened on social media.
    That pretty much sums up B3.
    Which isn’t to say an aging Gen-Xer can’t have fun watching it. Just don’t expect it to reinvent the slasher as an uber meta self-referential masterpiece a la Scream.
    On the whole this is a fast paced murder mystery that effectively uses music to create moods of tension and unease (props to the score by Disasterpiece, who oh so obviously ripped a few pages out of John Carpenter’s sonic playbook).
    The only glitches come in the form of a groan worthy plot device that’s on par with the rusty nail in A Quiet Place and the fact that the satire isn’t mean and nasty enough; the digs at TikTok shackled youth of the world are pretty tame and could have done with a bit more barb (watch Annihilation Nation for an example of sharp social commentary and aggressive triggers).
    Perhaps not on par with A24’s other horror fare—Hereditary, Midsommar, Men, etc.—but it’s a fun end-of-summer diversion.
    Last edited by dookeyXXX; 12-08-2022 at 01:18 PM.
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  2. #1277
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    Anything involving Agatha Christie's plot lines is stacking the deck against themselves, no matter how you dress it up, unless you are a card shark and have David Suchet up your sleeve.

  3. #1278
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    Quote Originally Posted by PB View Post
    Anything involving Agatha Christie's plot lines is stacking the deck against themselves, no matter how you dress it up, unless you are a card shark and have David Suchet up your sleeve.
    Interestingly enough, the director cites Clue as an influence, not Christie…
    (https://apple.news/AeBRWZI7MQ3mTAhkfSFnsFQ)

    Me, I always get Clue and Murder By Death mixed up.

    I would be curious to know the percentage of Millennials and Gen-Zers who know who AC is…
    "Man, we killin' elephants in the back yard..."

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  4. #1279
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    Quote Originally Posted by dookeyXXX View Post
    VENGEANCE
    Caught the late night showing of this wonderfully twisted little film with my pops.
    His post viewing, parking lot assessment: "I liked that. It had a lot of depth. And that Ashton Kutcher is a pretty good actor; I always thought he was stupid and goofy because of that TV show (pretty sure my dad was referring to That '70s Show), but he was really good."

    The film--written, directed, and starring B.J. Novak (The Office)-- is sharp, wickedly funny (I laughed out loud a lot), acerbic, teeming with great through lines and callbacks, and well-rounded characters, not to mention some nice twists that I am ashamed to admit I missed due to the satire, characters, and taut construction of the story.
    On the surface it's easy to think the film is skewering the alt-right, but like the wonderfully overlooked 2020 horror film The Hunt, it's really lambasting the liberal left, as well.
    Our continued reliance on social media, taking the piss out of true crime podcasts, love of fast food, and quick judgements are also prime targets.
    And even when the film drifts into Hallmark moments, it manages to avoid treacley territory thanks to solid writing and top-notch thespianism.
    Highly recommended.
    If you can't see it in the theater, definitely earmark it for streaming.

    Great watch

  5. #1280
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    Yo, dooks. You seen "Three Thousand Years of Longing" yet? Looking forward to hearing your thoughts. Trailer looks like it's right up my alley. With George Miller at the helm, and starting Tilda Swinton and Idris Elba, this one might be worth checking out. Adapted from the short story collection, The Djinn in the Nightingale's Eye, it looks really interesting.

    https://youtu.be/TWGvntl9itE

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  6. #1281
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    The Unofficial Ongoing Current Movies in Theaters thread

    Just saw Bullet Train tonight. It was a fun sort of action comedy. Lots of laughs. Good action sequences. I was thoroughly entertained. A few good cameos as well.

    Edit: as usual Dookey had a much better articulation than I ever could. I largely agree with his take. Though I laffed when Channing Tatum showed up briefly.

  7. #1282
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    Quote Originally Posted by MontuckyFried View Post
    Yo, dooks. You seen "Three Thousand Years of Longing" yet? Looking forward to hearing your thoughts. Trailer looks like it's right up my alley. With George Miller at the helm, and starting Tilda Swinton and Idris Elba, this one might be worth checking out. Adapted from the short story collection, The Djinn in the Nightingale's Eye, it looks really interesting.

    https://youtu.be/TWGvntl9itE

    Sent from my Pixel 3 using TGR Forums mobile app

    Not yet.
    And I haven't read the source material, either.
    I was intrigued by the trailer when I saw it a few months ago. And I have, over the years, enjoyed many of the works of Miller, Elba, and Swinton.

    However, this article popped up in my news feed recently and while I haven't read it, the mere title has given me pre-conceived notions of a slightly negative slant:
    https://slate.com/culture/2022/08/th...ie-review.html

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  8. #1283
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    THREE THOUSAND YEARS OF LONGING
    Saw this on Monday afternoon with my 89 y/o dad.
    He knew absolutely nothing about it going in.
    He enjoyed it, commenting on the walk back to the car after the screening that it was “an adult fairy tale.”
    That pretty much sums up the film.
    If you go in expecting some Mad Max mayhem, well you’re gonna be disappointed; it has more in common with The Princess Bride than Fury Road.
    As for me, I dug it. The narrative structure is really cool, the acting from Swinton and Elba is solid, the pacing is even, and the direction is artfully restrained.
    While arguments could be made that it succumbs to the “magical negro” trope, one could just as easily say it embraces the “white savior” trope, too. If such is the case, those two tropes pretty much cancel each other out. Personally, I didn’t feel that the film’s story succumbed to either.
    Honestly, the film is more of a veiled “chick flick” bathed in neo macho accoutrements.
    So, if you enjoy rich romantic fantasies with a dark and mysterious edge, then this will be right up your alley.

    P.S.
    I have not read the source material, so no clue as to how faithful it is…

    RIYL
    The Princess Bride; The Fall; 300; The Brothers Grimm

    Last edited by dookeyXXX; 05-24-2023 at 07:33 PM.
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  9. #1284
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    Quote Originally Posted by dookeyXXX View Post
    THREE THOUSAND YEARS OF LONGING
    Saw this on Monday afternoon with my 89 y/o dad.
    He knew absolutely nothing about it going in.
    He enjoyed it, commenting on the walk back to the car after the screening that it was “an adult fairy tale.”
    That pretty much sums up the film.
    If you go in expecting some Mad Max mayhem, well you’re gonna be disappointed; it has more in common with The Princess Bride than Fury Road.
    As for me, I dug it. The narrative structure is really cool, the acting from Swinton and Elba is solid, the pacing is even, and the direction is artfully restrained.
    While arguments could be made that it succumbs to the “magical negro” trope, one could just as easily say it embraces the “white savior” trope, too. If such is the case, those two tropes pretty much cancel each other out. Personally, I didn’t feel that the film’s story succumbed to either.
    Honestly, the film is more of a veiled “chick flick” bathed in neo macho accoutrements.
    So, if you enjoy rich romantic fantasies with a dark and mysterious edge, then this will be right up your alley.

    P.S.
    I have not read the source material, so no clue as to how faithful it is…

    RIYL
    The Princess Bride; The Fall; 300; The Brothers Grimm

    Splendid! Sounds like it's right up my alley. Thanks for the review.

    Sent from my Pixel 3 using TGR Forums mobile app

  10. #1285
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    BARBARIAN
    As with both X and Bodies Bodies Bodies, this is a horror movie that is fast, furious, and fun, though not terribly original.
    Astute horror fans will quickly discover that writer/director Zach Cregger has judiciously borrowed ideas from a number of other films, most notably People Under The Stairs, The Texas Chainsaw Massacre by way of House of 1000 Corpses, and Don’t Breathe, just to name a few of the obvious influences.
    While Barbarian certainly looks and feels like a compendium of other films, it’s smart enough to keep the story moving at a breakneck pace. On top of that it saturates the visuals with throbbing and disconcerting sonic ambiance and packs in just enough jump scares and WTF moments to keep you enthralled for its hour-and-43-minute duration.
    Sure, the #MeToo and Blue Lives Matter commentary is a bit heavy handed and the reliance on so many familiar tropes without really tweaking them is a bit frustrating, but as a calling card for Cregger’s continued career as a genre director it’s not too shabby (it’s worth noting that prior to this film the bulk of Cregger’s work has been in comedy).

    Last edited by dookeyXXX; 12-08-2022 at 01:24 PM.
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  11. #1286
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    Man, I don’t wanna get overly excited, but given that this is the new film from the guy who brought us Whiplash and
    La La Land, I am prematurely prone to yell “F&@k Yeah!!’”

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  12. #1287
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    That looks good

  13. #1288
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    SEE HOW THEY RUN
    Evoking Hitchcock by way of DePalma, Woody Allen by way of Wes Anderson, and embracing Agatha Christie with both reverence and tongue-in-cheek, this is a deliciously delightful romp that is a film lover's wet dream.
    It's a slick and snarky whodunnit brimming with a wonderful ensemble cast, punchy dialogue, a fantastic score, and lots of cinematic chicanery.
    Above all else, it's just a fun film.

    RIYL
    Knives Out; Bullet Train

    Last edited by dookeyXXX; 12-15-2022 at 01:28 PM.
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  14. #1289
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    Intriguing, understated role for Rockwell

  15. #1290
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    Quote Originally Posted by PB View Post
    Intriguing, understated role for Rockwell
    Plus a whimsically comedic turn from Saoirse Ronan, too!
    "Man, we killin' elephants in the back yard..."

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  16. #1291
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    I am not particularly a fan of M. Night.
    I think he is tremendously overrated.
    But I understand why he keeps being allowed to make films (he makes em cheap and they make $$$).

    One thing, however, is that the trailers for his films always look cool and often times are much better than the actual film.

    This one looks intriguing; here’s to hoping that the end product is as nifty as the trailer:

    "Man, we killin' elephants in the back yard..."

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  17. #1292
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    DON’T WORRY DARLING
    Wrapped in bright spring/summer colors and brimming with MCM design flourishes, DWD, on the surface, comes off like a cross between The Prisoner and The Stepford Wives.
    Creating a nice sense of unease from the outset, the story unravels at a steady pace using nightmare flashes, slyly menacing dialogue, and creepy music to fuel the mysterious going’s on.
    Granted, when the reveal-slash-twist is delivered in Act III, it’s a mild letdown, but only momentarily, as director Olivia Wilde amps up the finale with a white-knuckle chase and an enigmatically dark conclusion.
    Sure, there are plot holes aplenty which manifest themselves during post-screening reflection, but the film is fun and immensely engaging while the frames are whizzing by your optical receptors in the darkened theater.

    RIYL
    Beyond the Black Rainbow; Dollhouse; The Prisoner
    Last edited by dookeyXXX; 12-14-2022 at 07:04 PM.
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  18. #1293
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    Saw this trailer yesterday before a screening of The Greatest Beer Run Ever.
    I hadn’t really put this film on my radar, but I found the trailer really appealing. The cast looks great.

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  19. #1294
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    THE GREATEST BEER RUN EVER

    Anti-war film the the vein of Platoon? Military comedy a la Stripes? Heroic action film? Peter Farrelly’s latest effort is all of these, with some coming-of-age/journey-of-self discovery elements tossed in for good measure.
    The problem, however, is that it is ALL of those things, resulting in the overall tone of the film being incredibly uneven. It can’t seem to make up it’s mind if it wants to be a ribald comedy, a somber socio-political commentary, or a gonzo war picture. In short it shifts tones so frequently that it leaves the viewer dizzy. I found myself laughing hysterically at a scene only to be slapped in the face by some ardent message while I was still mid guffaw. Or I found myself tearing up during an emotional moment only to have an ill-timed belly laugh thrown at me. The film is a veritable roller coaster, which becomes erratic and jolting.
    Ups and downs aside, the story is anchored by a bravura turn from Zac Efron. Honestly, I’ve never paid much attention to this dude as I always (unfairly) remember him for his early Disney dancing and singing days. While I never watched any of the High School Musical films, that image of Efron is indelibly etched in my mind. Heck, I can only recall two other films featuring him that I’ve seen: Me and Orson Welles and The Beach Bum. I don’t remember much about him I the former, but he all but saved the latter vehicle with a hilariously over-the-top turn as a drug addict. Here he maneuvers the rocky tonal shifts with aplomb, delivering some nice comedic moments, some solid dramatic flair, and based on how he dodges gunfire and grenades, he might actually make a good action hero someday. The supporting cast, largely of unknowns (to me, at least) is strong and the two high profile cameos—Murray and Crowe—are put to good use.
    The Greatest Beer Run Ever is a conflicting film, one that never really finds its voice or footing. In many ways it is a mirror reflection of the war that it depicts: chaotic and confusing, but also exciting (at times) and emotionally charged.

    Bottomline: No need to head out to the cineplex to see it. If you have AppleTV, just stream it instead.

    Last edited by dookeyXXX; 10-08-2022 at 04:20 PM.
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  20. #1295
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    AMSTERDAM
    In the context of the film, "Amsterdam" is a metaphor for an idyllic utopia where racial equality and artistic freedom are the norm. Sadly, like most romantic ideals, it's not something likely to be long lasting if ever fully realized, which ultimately makes this largely comedic romp all the more sad and somber in the end.
    Part war buddy bromance, part mystery, part conspiracy theory David O. Russell's latest effort chugs along like a streamlined and less whimsical Wes Anderson ensemble piece. While largely light and breezy with a number of great comedic turns from those involved, it does get bogged down with slightly heavy-handed socio-political commentary in the third act. This nefarious revelation draws an all-too-obvious correlation to the current state of American affairs and almost renders the brevity of the previous two acts moot. Thankfully, the sheer chutzpah of all involved saves the day.
    The cast here is stellar. Bale, Washington, and Robbie are supported with a veritable roll call of thespian luminaries, some recognizable, others lurking under wonderful make-up and elaborate costumes.
    And the story? It's like a vintage Hitchcockian thriller with it's twists and turns and everyday people thrust behind the cloak and dagger curtain.
    Unbeknownst to me, the film is actually based on a somewhat obscure and alleged conspiracy event called "The Wall Street Putsch," which occurred in 1933 (look it up because it's fascinating and crazy enough to make even the most stalwart intellectual consider the existence of myriad other conspiracy theories).
    The film is getting slagged by the critics. Not sure if they all saw a different cut than me, but I enjoyed it. A former colleague of mine recently remarked that the sign of a good movie is one that makes you forget that you're sitting in a strange chair in a dark room that's not in your house. If you squirm, fidget, or feel the need to get up numerous times to go to the bathroom or get a snack, then the film sucks. I was glued firmly to my seat all the way through the final credits.
    So, yeah, I enjoyed it.
    But YMMV.

    Last edited by dookeyXXX; 12-14-2022 at 07:05 PM.
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  21. #1296
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    THE GOOD BOSS

    Javier Bardem delivers a delicious turn as a narcissistic owner/boss of an industrial scale company in this delightfully subdued dark comedrama.
    Unfolding like a mellow telenovela, the story is teeming with undercurrents of lust, egotistical illusion, infidelity, and touches on such cornerstone heavy topics as classism, racism, and integrity.
    It’s got some wonderfully unassuming callbacks that resonate with quiet punches to both the guy and the brain, plus Javier B delivers a powerhouse performance.
    While my main experience with Spanish cinema has been through the films of Almodovar, this effort is leaner and meaner, but no less captivating.


    Last edited by dookeyXXX; 10-16-2022 at 10:13 AM.
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  22. #1297
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    TAR

    Sit back, relax, and be prepared to be riveted and nonchalantly repulsed by the story of a high profile maestro who is haunted, hindered, humiliated, and possibly humbled--though this last state is up for debate depending on your interpretation of the film's bonkers ending--by her hubris. Portraying the titular character, Cate Blanchett goes quietly off-the-rails in this darkly veined examination of the cult of personality.
    The pacing is slowburn and deliberate, the plot is a percolating melange of arthouse melodrama, but delivered in a brooding and low-key manner. Underneath the surface is a strange air of mystery, which may very well be due to the minimal exposition; key elements of our protagonist's life are doled out sparingly over the 2 hour and 38 minute run time, keeping us in the dark as to her true self.
    The film is perhaps unexpectedly prescient, too, given how it mirrors the current unravelling and cancellation of (Kan)Ye. It also tackles MeToo, albeit more as a tertiary element to the core story of an ego unchecked.
    Blanchett is riveting and the supporting cast manages to keep their heads above the maelstrom she creates.
    If you dig high drama delivered with smoldering intensity and keen camera sense, then this will be right up your alley.

    Last edited by dookeyXXX; 06-10-2023 at 05:49 PM.
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  23. #1298
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    It’s pretty clear that Cate Blanchett is quite possibly the best actor ever. Looking forward to seeing this
    crab in my shoe mouth

  24. #1299
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    TRIANGLE OF SADNESDS

    I was moderately hesitant about this film seeing as how I had not enjoyed the writer/director's 2014 effort Force Majeure, mostly because the characters were despicable and shallow, and highly unrelatable (at least to me). I know that was the point of the film, but it made it really hard to watch.
    This film, however, piqued my interest the moment it popped up on my radar. And when it won the Palm d'Or at this year's Cannes Film Festival, I paid it even more attention. While I don't usually give much credence to festival awards, at least the French have a respectable track record for choosing often times weird, polarizing, and just plain challenging films for the premiere awards at Cannes (think last year's Titane, for example).
    But I digress.
    In a nutshell, ToS is a brilliantly scathing black comedy, expertly and wryly taking the piss out of gender equality (or inequality as is often the case here), entitled wealth, class structure, social standing, the vapidy of advertising and influencing, and the general cluelessness people have about those around them.
    The film is told in three parts that feel like absurdist takes on Zoolander, The Poseidon Adventure, and Lord of the Flies. There's a bit of Monty Python tossed in for good measure, too. But I'm being kind of facetious with those comparisons, mind you. The film is it's own biting, gnawing, satirical entity, taking mundane situations (fighting over who pays the dinner bill) to topical world matters (open sea piracy, distribution of wealth, social and economic hierarchy, and much, much more) and skewering them with smirking aplomb.
    I laughed out loud on more than one occasion, had to choke down some serious gagging reflexes a few times, and found myself perplexed and overjoyed at the insanely ambiguous ending.


    Last edited by dookeyXXX; 11-03-2022 at 09:31 AM.
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  25. #1300
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    THE BANSHEES OF INISHERIN

    This is easily the quietest film writer/director Martin McDonagh has crafted to date. But it is also a smoldering one, one which understatedly revels in multiple layers of complexity.
    It’s at times a devilishly dark and fractured fairy tale, an anti-war film masquerading as a swervedriving comedic drama, and a scathing indictment of how routine can kill one’s mental—particularly philosophical—growth. It’s also a movie about loneliness, isolation, and the dissolution of friendship. Or perhaps it’s just a quirky yarn about two blokes living on an island off the coast of Ireland who enjoy a pint or four every afternoon around 2. The joy of this film is that you can make of it what you want. At times absurdist and other times achingly poignant, it moves along at a gentle pace, slowly building tension and a sense of gruesome entropy, but never wasting well-timed comedic inserts either. Set against the backdrop of the Irish Civil War circa 1923 there’s a cleverly subdued riff about the futility and folly of conflict, war, and revenge that weaves its thematic thread through an otherwise nonchalant story about nice men living simple lives. But as with any good melodrama worth its weight in salt, there’s a dark underbelly lurking just beneath the surface of the idyllic landscape and regular visits to the pub. Oh, and there’s a witch, a village idiot, and a policeman who enjoys a good wank in his living room most evenings.
    Those familiar with McDonagh’s previous works, both in cinema and the stage (The Pillowman, In Bruges, Three Billboards Outside Ebbing, Missouri) will relish in his rich dialogue and snaky plot structure. And the thespian turns from both Colin Farrell and Brendan Gleeson are beyond stellar. Supporting work from Kerry Condon and Barry Keoghan (damn, this dude is chameleonic as hell) balance things out. Additionally, the score from Carter Burwell (best known for his longtime collaborations with the brothers Coen) sets a wonderful tone that wavers between the whimsical and calamitous and lends the whole affair an air of the Bros. Grimm.
    Last edited by dookeyXXX; 12-19-2022 at 11:26 PM.
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