Oh I'm sorry, Did I Break Your Conversation........Well Allow Me A Movie Thread by S&T

Anybody watch Rapture doc on Netflix? The Logic one was pretty good. The rest of the series worth watching? I don't know what else I could learn from a Nas doc, but might peep
 
Does anyone know if moviepass resets 24 hours after you swipe your card or after you check in on the app?
 
hand2handking said:
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this was a good movie

murder mystery in a small town

kinda reminded me of wind river, or end of fall
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4/8 (it could be lower)interesting plot but honestly, we got closure, they didn't. Plus I didn't get the dude that shot the girl in the face , why? Anyways, ok movie, nothing out of the norm ...

Master Zik said:
You Were Never Really Here 6/8

This **** was wild. A little disjointed but good. The score made things very surreal at moments. Plus the flashbacks and cut scenes.

Things went left quick and just kept going left.

This was like a more grounded Equalizer but with none of that this made by a studio feel. Plus a bit of a twist by the end. Felt way more indie.
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3.6/8 this is definitely for hardcore movie watchers. The lack of dialogue and minimalist "suspense" is definitely for dudes that see a plate like this
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and rave of how good and what a master piece. The reason for the avg score is the plot was ok ... this reminds me of LEON: The Professional and although that movie didn't age well, I would still view more than this.

Again I'm not sure if I lost my taste in movies but whatever.

Also watch Terrifier and although it has 80% in RT I rate that shot 2/8 maybe 3/8 because I know I'm a hard grader. People might enjoy the gruesomeness of it, but beside that not much substance ... I'm sure some people like it and can get passed the VHS feel.

Spinning Man 4.3/8 it was cool ....
 
The Expanse is back :pimp:


keko jones said:
3.6/8 this is definitely for hardcore movie watchers. The lack of dialogue and minimalist "suspense" is definitely for dudes that see a plate like this
fette-sau-BBQ.jpg
and rave of how good and what a master piece. The reason for the avg score is the plot was ok ... this reminds me of LEON: The Professional and although that movie didn't age well, I would still view more than this.

Again I'm not sure if I lost my taste in movies but whatever.
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I enjoyed it but I didn't say it was a masterpiece :lol:
 
Master Zik said:
The Expanse is back :pimp:



I enjoyed it but I didn't say it was a masterpiece :lol:
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I hear you my dude. LoL

First Match 6.3/8 knocked it down a bit for bad acting. But the movie IMO was good and entertaining.

Watching Den of Thives and I find this movie entertaining. Give it a solid 5.5/8 . Is not over and I already know the big plot twist. Spot it right off the bat. Let me see if it's what I think.

I was pretty damn close .... good entertaining movie.
 
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I would've said okay if you had an idea of the twist but no way you calling Cube's son with that out for nowhere British accent.

The twist becomes readily apparent when you realized they followed the wrong garbage truck and it becomes a loose end until after most of the main thieves are dead.
 
Master Zik said:
I would've said okay if you had an idea of the twist but no way you calling Cube's son with that out for nowhere British accent.

The twist becomes readily apparent when you realized they followed the wrong garbage truck and it becomes a loose end until after most of the main thieves are dead.
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I actually caught on to it from the bar scene when he said loose lips sink ships and once he got pressured he spilled all the beans. I was like **** doesn't add up. Then when I see the dude driving the truck I was like hold up, this dude is pulling something and once the two trucks crossed I knew what was up.

However, I didn't think he was the man, just trying to run the old double cross.

Plus I already kind of had an idea of where the movie was ultimately going to end once they started breaking down the fed job since the movie Mad Money put me on game.
 
The feels when Jim Gordon “gets shot” in Dark Knight & they tell Mrs. Gordon... I love these Nolan Batman flicks... Regardless of Marvel or DC these are the best comic movies for me. Soundtracks are so dope too...
 
Just finished the first season of Legion. No comic show is touching this. There's a 2 hour stretch where I felt like I couldn't breathe. Can't wait to get into season 2. Aubrey Plaza as Shadow King :nthat:
 
Got tix to the theater with reclining seats (reserved seating) Sat night for A Quiet Place... Taking the fam & our son's best friend. Going to a Hawaiian/Polynesian restaurant before... Fittin' to be a nice Sat night... :smokin

orig
 
I was looking forward to You Were Never Really Here.

Saw Rampage last night. Okay popcorn flick. Some of the lines were cheesy. And Jeffrey Dean Morgans character was horrible.
 
Has anyone else watched Wild Wild Country? I'm halfway through and I have no idea how this could get even more wild. Sheela a ****ing psychopath.
 
I didn't know Joe Manjello was gonna be in Rampage. Didn't see him do any promo for it :lol:

EDIT

Oh I see why now. I sense what's about to happen here :lol:
 
Rampage 4.6/8

Cool popcorn flick. This is basically monster disaster movie with dialogue in between to lead up to every action scene. The humor was so-so.

The Rock was serviceable. Does his thing a bit better here.

I like JDM but its like he had the charisma but such corny dialogue. Okay at first but got worse with all of this cowboy and a-hole1 talk.

Dont know what my girl Naomi Harris was doing even wasting her time in this movie :lol:

Out of everybody Malin Ackerman actually impressed since I find her to be really bland as an actor. Felt she was just a pretty face that gets roles. Her being villain was pretty good and believable. Nothing exceptional about the role but her being that ruthless and heartless really fit.

Beirut 6.5/8

I really liked this. Always been a fan of Hamm and been waiting for him to get right as a leading man. Now while some may say the character he plays has some (broad) similarities to Don Draper I felt the writing was so strong in establishing this period in Lebanon and the dialogue and plot was so good and tight that it wasn't a big flaw at all.

A good espionage thriller.

Hamm was the standout. I feel like a good lane for him would be doing updated modernized versions of the pulpy noir action/espionage/thriller movies Grant, Bogart, Gable, Peck, and Douglas did.
 
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A Quiet Place was outstanding.

Real thrills, well directed, interesting premise. It kept the fear real and grounded, and gave you enough info so you could understand the threat but didn't make the mystery the whole point of the movie. Emily Blunt can act her butt off...
When she started having contractions, her holding back the screams, fighting through the pain, good god.. outstanding
Krasinski can direct, man. I'm officially excited for anything he makes from here on out.

I need to see it again. There was someone with an assistance device for the visually impaired, so within the 1st 20 seconds I heard a very subtle out loud reading of the subtitles and description of the action on screen. I noticed it but put it out of my head and didn't bother me.. but I think it's ironic that in all my years of seeing movies.. the one time I recall hearing/seeing anything like this was in which a movie's primary focus was on being quiet :lol:
 
The Silently Regressive Politics of “A Quiet Place”
Brody-A-Quiet-Place.jpg

John Krasinski, who both stars in and directs “A Quiet Place,” with Noah Jupe, who plays his son. Photograph by Jonny Cournoyer / Paramount / Everett

https://www.newyorker.com/culture/richard-brody/the-silently-regressive-politics-of-a-quiet-place

The success of “A Quiet Place,” the new horror thriller directed by John Krasinski, is a sign of viewers craving emptiness, of a yearning for some cinematic white noise to drown out troubling thoughts and observations with a potently simple and high-impact countermyth. The noise of “A Quiet Place” is the whitest since the release of “Three Billboards Outside Ebbing, Missouri”; as horror films go, it’s the antithesis of “Get Out,” inasmuch as its symbolic realm is both apparently unconscious and conspicuously regressive.

“A Quiet Place” is the story of a white family living in rustic isolation that’s reduced to silence because a bunch of big, dark, stealthy, predatory creatures who can hear their every noise are marauding in the woods and, at any conspicuous sound, will emerge as if from nowhere and instantly maul them to death. I won’t spoil the plot twists, but Krasinski ultimately delivers a pair of exemplary images, a lone bearded man (whom he himself plays) with a rifle, and a lone woman (played by his real-life wife, Emily Blunt) aiming a rifle into the camera.

The movie is a fantasy of survivalism that starts eighty-nine days into the rampage. The Abbotts, a family of five—mother, Evelyn; father, Lee; Regan, a daughter of about eleven (Millicent Simmonds); Marcus, a son of about eight (Noah Jupe), and a small boy of about four named Beau (Cade Woodward)—are trawling a ghost city for supplies, wandering through a pharmacy and gathering medicine. (The characters’ first names are given on IMDb, though, to the best of my recollection, they’re not mentioned in the film itself.) The Abbotts are the only people making their way through town, across an old wooden bridge, and to their remote country farmhouse amid a series of other farms. If they’ve survived so far—and most of the action takes place later, more than a year into the invasion—it’s due in part to one circumstance: Regan is deaf (as Simmonds is in real life), and, as a result, the family is skilled in sign language, which enables them to communicate and strategize while eluding the monsters.

Except for its blaring music, “A Quiet Place” is in fact mostly a very quiet movie (with one clever, if obvious, element of sound design—shots suggesting Regan’s point of view remove all background sound and are delivered silent, to reproduce her deafness on the soundtrack and contrast it with the hearing of other characters and the enforced speechlessness of their environment). The farmhouse, however, has been the site of relentless labors—both the daily domestic work on which physical subsistence depends (the action suggests that Evelyn does most of that) and some high-tech wizardry that turns the family’s basement into an elaborate video-surveillance module, with cameras scattered throughout the wide property, more video screens at work than in the back room of a shopping mall, and strings of red lights that wind through the farmland and can be lit at the flip of a switch. (Scenes of Lee at work with wire and solder suggest that the electronics workshop is solely his domain.)

The Abbotts have to maintain their quiet (though Lee has discovered that, when there’s a big and steady sound nearby, such as the rush of a waterfall, it’s safe to speak, since the voices don’t escape it), and so, there’s almost no verbal dialogue in the film (there’s more dialogue in sign language, which is subtitled). The near-wordless soundtrack is a directorial choice on Krasinski’s part—as silent as its characters may be, “A Quiet Place” could easily have been transformed into a voluble movie, in which the characters’ thoughts and experiences would be delivered on the soundtrack, as interior monologues, even if they’re compelled not to express them aloud to each other. But Krasinski (who wrote the script with Bryan Woods and Scott Beck) chose to keep his characters blank and undefined, their memories and musings out of bounds. What dialogue there is (whether spoken or signed) is confined to the demands of the action (with one twist of psychology involving an element of guilt that figures only trivially in the plot).

The only moment of authentic inner expression, the acknowledgment of any identity at all, arises when, under siege from the creatures, Evelyn challenges Lee when their children are in danger: “Who are we? Who are we if we can’t protect them?” In that moment, “A Quiet Place” disgorges its entire stifled and impacted ideological content. The movie’s survivalist horror-fantasy offers the argument for turning a rustic farmhouse into a virtual fortress, for the video surveillance and the emergency lighting and, above all, the stash of firearms that (along with a bit of high-tech trickery that it’s too good to spoil) is the ultimate game changer, the ultimate and decisive defense against home intruders.

In effect, “A Quiet Place” is an oblivious, unself-conscious version of Clint Eastwood’s recent movies, such as “The 15:17 to Paris,” which bring to the fore the idealistic elements of gun culture while dramatizing the tragic implications that inevitably shadow that idealism. The one sole avowed identity of the Abbott parents is as their children’s defenders; their more obvious public identity is as a white rural family. The only other people in the film, who are more vulnerable to the marauding creatures, are white as well. In their enforced silence, these characters are a metaphorical silent—white—majority, one that doesn’t dare to speak freely for fear of being heard by the super-sensitive ears of the dark others. It’s significant that when characters—two white men—commit suicide-by-noisemaking, they do so by howling as if with rage, rather than by screeching or singing or shouting words of love to their families. (Those death bellows are the wordless equivalent of “I’m as mad as hell and I’m not going to take this anymore!”) Whether the Abbotts’ insular, armed way of life might put them into conflict with other American families of other identities is the unacknowledged question hanging over “A Quiet Place,” the silent horror to which the movie doesn’t give voice.
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A Quiet Place’s John Krasinski Boards Life on Mars Film Adaptation

Castellucci’s “We Have Always Lived on Mars” is a sci-fi piece that takes place in a future where humans settled on Mars after Earth suffered a cataclysmic event. It follows the descendants of this abandoned Martian colony. Their world changes when one woman discovers she can breathe on Mars without assistance.

The movie will adapt Shade, The Changing Girl writer Cecil Castellucci’s short story “We Have Always Lived on Mars,” which is illustrated by Carl Wiens.
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