Films Recently Watched

[Silent Member]

Watched Peninsula (aka Train to Busan 2) Goddamn that was some stupid shit. I guess it could work as a flick to mock with mates while downing beers, but not as a solo endurance test. Full CGI unrealistic car chases and goreless zombie action + lolable plot, dialogue and acting. 3/10 cinema experience

[Soloman Tump]

22 hours ago, Tim_J said:

just rewatched resolution and the endless... made more sense this time cause i watched them basically back to back... really liked both this time... anyway, i couldn't really grasp the meta concepts behind it by myself, had to read some analysis on it... now i wanna watch them again...they have another movie coming out which some people think it's gonna be the 3rd and last installment...

Thanks for the recommendation, watching Resolution now, and found Endless on Netflix for tomorrow night

[cruising for burgers]

here's some analysis on resolution and the endless meaning... op is a bit of a dick but there's some pretty interesting replies if you scroll down... obviously spoilers so read it only after watching both movies if you feel like it...

resolution
the endless

Edited August 19, 2020 by Tim_J

[Soloman Tump]

11 hours ago, Tim_J said:

here's some analysis on resolution and the endless meaning... op is a bit of a dick but there's some pretty interesting comments... obviously spoilers so read it only after watching both movies if you feel like it...

resolution
the endless

 

 

 

I thought Resolution was excellent given the limited budget they had to work with.  The "kinda shaky cam" filming method didn't make it seem amateurish at all, and when you figure out the premise of the movie I guess it makes more sense.

Some interesting world building going on, looking forward to Endless tonight!

[Silent Member]

On 8/15/2020 at 5:30 AM, Nebraska said:

wow- enjoyed this A LOT more than i thought i would. 

  Reveal hidden contents

was expecting an alien-esque ripoff but this turned out to be a little more like the arrival/alien hybrid meets conspiracy from TNG

8 cosmonauts with no idea where they are out of 10

This was ok, not particularly interesting though. Competent and clichéd. Got that Chernobyl colour grading and look down to a T. 

I'd say it's more of a Life (2017)/Arrival hybrid though. Remember life? lol fak off Hollywood

[cruising for burgers]

On 8/18/2020 at 4:15 AM, Soloman Tump said:

I thought Resolution was excellent given the limited budget they had to work with.  The "kinda shaky cam" filming method didn't make it seem amateurish at all, and when you figure out the premise of the movie I guess it makes more sense.

Some interesting world building going on, looking forward to Endless tonight!

Yeah, also, the acting or screenwriting or whatever was really good. The dynamics between the 2 main characters was really convincing... 

[cruising for burgers]

@Soloman Tumphere's 2 more I think you'll dig:

[MaartenVC]

3 hours ago, Tim_J said:

@Soloman Tumphere's 2 more I think you'll dig:

I really like Coherence (2013), great movie imo.

[Nebraska]

if you haven't seen, or don't like showgirls, i'd say skip this. 

[dr lopez]

but if you do, like me, it’s fun. Showgirls is better but seeing the clips of verhoeven were funny

[Rubin Farr]

On 8/8/2020 at 11:29 AM, Rubin Farr said:

Curious to see the original ver. of this, after being lost for decades:

Downloaded the old version, then the remaster, looks and sounds 1,000 times better.  It's still 4:3 as it was an 80s TV broadcast.

[cruising for burgers]

re-watched a bunch of movies:

Resolution and The Endless, both must watch movies cause they're pretty cool and also cause they complement each other...

Illang: The Wolf Brigade (2018) - still waiting for this director return to form... a tale of 2 sisters, the good the bad and the weird and i saw the devil are exceptional movies i don't know what happened to this guy... a movie with California's guvnor?

Cargo (2009) - watched it like 4 days ago and can't remember shit... well at least nothing good about it...

Mother (2009) - i really liked it, fucking dense and lunatic but the son's performance is almost unbearable to watch...

The Cloverfield Paradox (2018) - didn't thought it was as bad as the reviews... it wasn't good as well but it was a quite watchable popcorn flick...

Coherence (2013) - if you're into mind bending time-loops then this is another must watch low-budget... the end was a bit disappointing though, should have been more ambiguous imo... the show DARK should have learned something from this movie... should have, but it didn't, that's why it sucked...

Europa Report (2013) - another low-budget, this time in space... lots of scientific goofs but anyway, i didn't feel what people praise in this movie, the sense of dread, the fear of the unknown, it wasn't as intense as reviews described it... lots of incomprehensible decisions from the crew as well...

Spoiler

what's up with these lovecraft fan directors and they're creatures heavily inspired by Cthulhu, can't they create nothing new? it feels so fucking uninspired by now, tentacles and squids and octopus and shit... bring something new to the table ffs... :)

 

Edited August 22, 2020 by Tim_J

[iococoi]

Quiz Show 1994 ...nice comfy watch..turturro, fiennes..good on u mr redford

Alien ...YA!

Aliens ...ya!

[Silent Member]

7 hours ago, Tim_J said:

re-watched a bunch of movies:

Resolution and The Endless, both must watch movies cause they're pretty cool and also cause they complement each other...

Illang: The Wolf Brigade (2018) - still waiting for this director return to form... a tale of 2 sisters, the good the bad and the weird and i saw the devil are exceptional movies i don't know what happened to this guy... a movie with California's guvnor?

Cargo (2009) - watched it like 4 days ago and can't remember shit... well at least nothing good about it...

Mother (2009) - i really liked it, fucking dense and lunatic but the son's performance is almost unbearable to watch...

The Cloverfield Paradox (2018) - didn't thought it was as bad as the reviews... it wasn't good as well but it was a quite watchable popcorn flick...

Coherence (2013) - if you're into mind bending time-loops then this is another must watch low-budget... the end was a bit disappointing though, should have been more ambiguous imo... the show DARK should have learned something from this movie... should have, but it didn't, that's why it sucked...

Europa Report (2013) - another low-budget, this time in space... lots of scientific goofs but anyway, i didn't feel what people praise in this movie, the sense of dread, the fear of the unknown, it wasn't as intense as reviews described it... lots of incomprehensible decisions from the crew as well...

  Reveal hidden contents

what's up with these lovecraft fan directors and they're creatures heavily inspired by Cthulhu, can't they create nothing new? it feels so fucking uninspired by now, tentacles and squids and octopus and shit... bring something new to the table ffs...

 

I liked Europa Report. Anyway, the Age of Shadows (by the I saw the Devil guy) is pretty good if you haven't seen that. Are those 2009 movies supposed to be 2019?

Edited August 22, 2020 by Gocab

[cruising for burgers]

13 hours ago, Gocab said:

I liked Europa Report.

yeah i guess some times the things we like more are the ones who end up disappointing us the most... for example, cloverfield paradox was a big facepalm since the beginning, so you know what you're getting yourself into... europa report was very promising and i got my hopes high so that's why i ended up being more nitpicking i dunno... ¯\_(ツ)_/¯

 

13 hours ago, Gocab said:

Anyway, the Age of Shadows

gotta watch that one...

 

13 hours ago, Gocab said:

Are those 2009 movies supposed to be 2019?

Edited August 22, 2020 by Tim_J

[cruising for burgers]

Shit I like this:

[caze]

apparently this is Colin Farrell, as the Penguin 

[Silent Member]

I'm pretty much done with superheroes by now. 

 

Except the Boys.

[cruising for burgers]

Which one of these is better? They're both written by the guy who wrote BORDER but different directors... Thing is, I'm not that much into vampires...

[cruising for burgers]

A nightmarish surrealistic bad trip in a land of dreams... Pretty bonkers and open to many interpretations... Despite the fact that a movie like this is almost impossible to put togheter, somehow this team did it... its technical flaws (that are completely justified given the guerilla filmmaking style used), are completely overflown by mesmerizing black and white photography for most part of the movie... Some of the acting/screenwriting is a bit off sometimes but I think it's worth getting through it... Also lots of controversy around it cause it was filmed in Disneyworld and Disneyland without permission from The Walt Disney Company... It's a bit Lynchian (but don't go in expecting the same quality cause obviously you gonna be disappointed) in the 3rd and final act but luckily it's not spoiled by unnecessary explanations... I'm gonna put the production notes from wiki in spolier tags just cause it's too big but don't worry you can read it, it doesn't spoil the movie... 

Spoiler

Production

To me this is the future. Cameras in your hand. Cameras in your glasses. Anyone can be shooting at any time.

And I think it will explode.

—Randy Moore[3]

"There was nowhere else to do it," Moore says of his decision to use Disney World as a setting and shoot at the parks. Disney, which has a reputation for aggressively protecting its intellectual property, has been tolerant of visitors uploading videos of their visits to YouTube and elsewhere since most of those user-created videos project a positive image of the parks. But Moore did not expect to get permission from Disney to shoot there given his negative, surrealistic portrayal of the park.[13]

 

Instead he used guerrilla filmmaking techniques, which sometimes call for using locations without getting permission. Escape from Tomorrow is not the first film made in whole, or part, this way at the Disney parks. In 2010, the British street artist Banksy shot a scene for Exit Through the Gift Shop in one of the parks with his collaborator Mr. Brainwash. They managed to smuggle the footage out after being detained and questioned by park security. The following year, a viral found footage short, Missing in the Mansion,[14] filmed in the Haunted Mansion, was distributed online without interference from Disney.[15]

 

Extensive pre-production was necessary. The unique nature of the film shoot dictated steps not normally taken in filmmaking, such as charting the position of the sun weeks in advance since they could not use lighting equipment. Scenes were rehearsed and blocked in hotel rooms, rather than the actual locations.[15] "We must have walked through the entire movie at least eight or nine times during multiple scouting trips before we ever rolled camera," Moore says.[12]

 

Before principal photography, the cast and crew bought season passes to both the Disneyland and Walt Disney World resorts. They spent ten days in Florida, then returned to California for two weeks at Disneyland, making the parks depicted in the film a combination of both resorts.[15] Actors and crew entered the parks in small groups to avoid attracting attention.[13] "At one point, I even made the camera department shave off their facial hair and dress in tourist attire, which almost provoked a mutiny," says Moore.[12] Despite the actors wearing the same clothes for days on end, Moore told the Los Angeles Times, park personnel never appeared to notice them,[3] save for one day near the end of filming when Disneyland security thought they were paparazzi harassing a celebrity family.[15]

 

A black camera with a short lens barrel and large hand grip on the left. "Canon" is visible above the lens, and "EOS 5D" on the right.

A Canon EOS 5D Mark II

The film was shot using the video mode of two Canon EOS 5D Mark II and one Canon EOS 1D Mark IV digital single-lens reflex cameras, which helped the filmmakers look more like typical park visitors.[15] To compensate for their inability to control the lighting, the film was shot in monochrome mode. "[W]e were shooting with really fast lenses wide open, so our depth of field was razor thin. Black and white helped us enormously with focus and composition, since we were doing almost everything in camera and didn't use a focus puller," Moore recalled. It was an irreversible choice. "ecause the 5D doesn't shoot RAW, we customized settings in its monochromatic mode and couldn't go back to color, even if we had wanted to."[12] Moore was comfortable with the result because of the surrealistic, dreamlike quality it created, forcing viewers to see the familiar sights of the Disney parks in a new way.[15]

 

Actors and crew used their iPhones to communicate and store information such as the script—that way, they looked like guests casually using their phones.[3] The phones were also used to record sound, in addition to digital recorders taped to each actor's body that were left running all day.[15] For day scenes, Moore felt comfortable risking only three or four takes of each scene, but found he could do more at night.[12]

 

A black-and-white image of a young girl on the left and a middle-aged man sitting on a bench with a patterned background and others doing the same behind them. She is looking at him while he appears to grimace

Sara (left) and Jim (right) riding It's a Small World

Scenes involved riding on eight recognizable attractions in the parks. One required waiting in a long line for the Buzz Lightyear ride at Disneyland, and the actors rode It's a Small World at least 12 times to get the scene right. "I was surprised the ride operators weren't a little more savvy," Moore told The New York Times. For a scene where two characters pass on the People Mover, Moore had the actors ride it for hours while he worked out the timing.[13]

 

After the location filming, production went back to soundstages for interiors. Some scenes were shot against a green screen background for second unit footage of other locations to be substituted, allowing the use of crane shots.[10] With the photography done, Moore took the film to South Korea to edit to prevent Disney from finding out; he also refused to tell most of his close friends what he was doing.[3] Visual effects were done by the same company there that had done them for the 2006 South Korean monster film, The Host.[15]

 

The post-production tasks were as challenging as the production itself. Sound editors had to listen to the entire uncut tracks from the recorders taped to the actors' bodies in order to find the dialogue. Content proprietary to Disney, such as the lyrics to "It's a Small World" and footage from Soarin', was removed from the film to avoid copyright infringement.[15] Composer Abel Korzeniowski contributed a light, airy score similar to those used in Hollywood's Golden Age.[3]

Edited August 23, 2020 by Tim_J

[Enthusiast]

3 hours ago, Tim_J said:

Which one of these is better? They're both written by the guy who wrote BORDER but different directors... Thing is, I'm not that much into vampires...

 

The Swedish one. It's a great movie. They remade it in American because they can't read subtitles.

Edited August 23, 2020 by Enthusiast

[sweepstakes]

 

33 minutes ago, Tim_J said:

A nightmarish surrealistic bad trip in a land of dreams... Pretty bonkers and open to many interpretations... Despite the fact that a movie like this is almost impossible to put togheter, somehow this team did it... its technical flaws (that are completely justified given the guerilla filmmaking style used), are completely overflown by mesmerizing black and white photography for most part of the movie... Some of the acting/screenwriting is a bit off sometimes but I think it's worth ignoring it... Also lots of controversy around it cause it was filmed in Disneyworld and Disneyland without permission from The Walt Disney Company... It's a bit Lynchian in the 3rd and final act but luckily it's not spoiled by unnecessary explanations... I'm gonna put the production notes from wiki in spolier tags just cause it's too big but don't worry you can read it, it doesn't spoil the movie... 

  Reveal hidden contents

Production

To me this is the future. Cameras in your hand. Cameras in your glasses. Anyone can be shooting at any time.

And I think it will explode.

—Randy Moore[3]

"There was nowhere else to do it," Moore says of his decision to use Disney World as a setting and shoot at the parks. Disney, which has a reputation for aggressively protecting its intellectual property, has been tolerant of visitors uploading videos of their visits to YouTube and elsewhere since most of those user-created videos project a positive image of the parks. But Moore did not expect to get permission from Disney to shoot there given his negative, surrealistic portrayal of the park.[13]

 

Instead he used guerrilla filmmaking techniques, which sometimes call for using locations without getting permission. Escape from Tomorrow is not the first film made in whole, or part, this way at the Disney parks. In 2010, the British street artist Banksy shot a scene for Exit Through the Gift Shop in one of the parks with his collaborator Mr. Brainwash. They managed to smuggle the footage out after being detained and questioned by park security. The following year, a viral found footage short, Missing in the Mansion,[14] filmed in the Haunted Mansion, was distributed online without interference from Disney.[15]

 

Extensive pre-production was necessary. The unique nature of the film shoot dictated steps not normally taken in filmmaking, such as charting the position of the sun weeks in advance since they could not use lighting equipment. Scenes were rehearsed and blocked in hotel rooms, rather than the actual locations.[15] "We must have walked through the entire movie at least eight or nine times during multiple scouting trips before we ever rolled camera," Moore says.[12]

 

Before principal photography, the cast and crew bought season passes to both the Disneyland and Walt Disney World resorts. They spent ten days in Florida, then returned to California for two weeks at Disneyland, making the parks depicted in the film a combination of both resorts.[15] Actors and crew entered the parks in small groups to avoid attracting attention.[13] "At one point, I even made the camera department shave off their facial hair and dress in tourist attire, which almost provoked a mutiny," says Moore.[12] Despite the actors wearing the same clothes for days on end, Moore told the Los Angeles Times, park personnel never appeared to notice them,[3] save for one day near the end of filming when Disneyland security thought they were paparazzi harassing a celebrity family.[15]

 

A black camera with a short lens barrel and large hand grip on the left. "Canon" is visible above the lens, and "EOS 5D" on the right.

A Canon EOS 5D Mark II

The film was shot using the video mode of two Canon EOS 5D Mark II and one Canon EOS 1D Mark IV digital single-lens reflex cameras, which helped the filmmakers look more like typical park visitors.[15] To compensate for their inability to control the lighting, the film was shot in monochrome mode. "[W]e were shooting with really fast lenses wide open, so our depth of field was razor thin. Black and white helped us enormously with focus and composition, since we were doing almost everything in camera and didn't use a focus puller," Moore recalled. It was an irreversible choice. "ecause the 5D doesn't shoot RAW, we customized settings in its monochromatic mode and couldn't go back to color, even if we had wanted to."[12] Moore was comfortable with the result because of the surrealistic, dreamlike quality it created, forcing viewers to see the familiar sights of the Disney parks in a new way.[15]

 

Actors and crew used their iPhones to communicate and store information such as the script—that way, they looked like guests casually using their phones.[3] The phones were also used to record sound, in addition to digital recorders taped to each actor's body that were left running all day.[15] For day scenes, Moore felt comfortable risking only three or four takes of each scene, but found he could do more at night.[12]

 

A black-and-white image of a young girl on the left and a middle-aged man sitting on a bench with a patterned background and others doing the same behind them. She is looking at him while he appears to grimace

Sara (left) and Jim (right) riding It's a Small World

Scenes involved riding on eight recognizable attractions in the parks. One required waiting in a long line for the Buzz Lightyear ride at Disneyland, and the actors rode It's a Small World at least 12 times to get the scene right. "I was surprised the ride operators weren't a little more savvy," Moore told The New York Times. For a scene where two characters pass on the People Mover, Moore had the actors ride it for hours while he worked out the timing.[13]

 

After the location filming, production went back to soundstages for interiors. Some scenes were shot against a green screen background for second unit footage of other locations to be substituted, allowing the use of crane shots.[10] With the photography done, Moore took the film to South Korea to edit to prevent Disney from finding out; he also refused to tell most of his close friends what he was doing.[3] Visual effects were done by the same company there that had done them for the 2006 South Korean monster film, The Host.[15]

 

The post-production tasks were as challenging as the production itself. Sound editors had to listen to the entire uncut tracks from the recorders taped to the actors' bodies in order to find the dialogue. Content proprietary to Disney, such as the lyrics to "It's a Small World" and footage from Soarin', was removed from the film to avoid copyright infringement.[15] Composer Abel Korzeniowski contributed a light, airy score similar to those used in Hollywood's Golden Age.[3]

2

I saw this years ago but aside from some pacing issues I really enjoyed it. The more surreal parts (which probably weren't filmed on location) were what made it work for me.

Edited August 23, 2020 by sweepstakes
a rando "2" lol

[cruising for burgers]

3 minutes ago, sweepstakes said:

I saw this years ago but aside from some pacing issues I really enjoyed it. The more surreal parts (which probably weren't filmed on location) were what made it work for me.

Yeah i also saw it when it came out and put it on my to re-watch list... Your totally right about the pacing issues, one could watch 10 random minutes of it and quit immediately... 

[dingformung]

Climax (2018)

Such a trippy film. Typical Gaspar Noé camera and there's some Aphex in there. What's not to like?

 

 

[Silent Member]

the people in it?