LinuxBBQ

GekkoP wrote: ↑

Sun Jun 05, 2022 7:05 am

Wild Things
Why don't they do this wannabe-dirty-but-end-up-being-a-bit-goofy-and-still-sleazy-somehow neo noir any more?

Hell yeah.

RRR
Don't know what to say. After Eega S. S. Rajamouli and I are not able to agree on what I want from his cinema any more.

Tokyo Story
Yeah, I know. I needed me some Ozu.

Crimes of the Future
New Cronenberg is body horror in all its glory. I didn't enjoy it as much as I would have liked though.

A new Cronenberg flick.

Beware of Children
From Norway, the original title is Barn. It's a long one, but it conquered my heart and I highly recommend it.

Side note: I should rely more on cinema from Northern Europe. Recently the Finnish Compartment No. 6 did please me, and now this.

GekkoP wrote: ↑

Sat Jun 25, 2022 4:51 pm

Side note: I should rely more on cinema from Northern Europe.

Me too. Granted, I don't watch as much cinema as I used to, but the last couple of shows from that region I caught - Riders for Justice and another one about the guy running a helpline (Netflix made an American version of it as well) - were quite enjoyable. Will take note of the two you mentioned.

^ Careful though: I may have been impressed just because I've been finding it harder and harder to catch good films. :)

All of the mentioned stuff by both of you is in my watch list. What a coincidence.

gutterslob wrote: ↑

Thu Jul 29, 2021 10:30 am

GekkoP wrote: ↑

Mon Jul 19, 2021 7:28 am

No Sudden Move

For a man with a career as rich as Soderbergh this is another hit.

Been planning on watching this. Your endorsement seals it. Will give it a go when I find the time.

Finally gave this a watch. Was great. Watched it all the way through in on sitting, which is a rarity for me*. Beautifully shot as well. I love how they mimicked old lenses (not sure if it was actual lenses or done in post) with the barrel-like distortion at the corners (almost fisheye) so that it gave extra focus to central characters in some scenes. The color grading was on point too. Best was the sound design. I could actually hear what they were saying unlike 90% of modern movies where I still need to look at subs to make out what characters say half the time (industry experts seem to blame Nolan for this, I have no idea if true) because everything sounds so compressed and muffled.

I do wonder if the amounts of money exchanged were period correct though. I mean, USD11/hour for a bellhop in the 1950s is a shit ton of money. Inflation adjusted, assuming a standard 40hr/week gig, you'd be seeing in excess of USD200,000/year. That's just the bellhop. Some of the money being thrown around by Don Cheadle's character for petty henchmen was a bit mad.

*because I can't seem to sit through most films these days. The last sorry-excuse-for-cinema I saw was the new Matrix. It took a whole week for me to finish it. It was just so fucking fatiguing with Neo going "boo-hoo, where is my Triinity boo-hoo" half the damn time.

gutterslob wrote: ↑

Tue Jun 28, 2022 6:34 pm

Best was the sound design. I could actually hear what they were saying unlike 90% of modern movies where I still need to look at subs to make out what characters say half the time (industry experts seem to blame Nolan for this, I have no idea if true) because everything sounds so compressed and muffled.

I totally agree on the sound design, but late Soderbergh is always doing the right thing on this department for me. Nolan is indeed the one to blame, although Mann did the same with different (and much better) results.

Billie Eilish: The World's a Little Blurry
Now, you know pop culture interests me. I can even say Eilish's music does not disturb me, but this, much like Gaga: Five Foot Two, feels fake at every turn of the camera. I am sure Eilish and his brother are fine people, just as I am sure her family is nice and everything, but it's hard to believe the recording process can be honestly genuine while filming so many details of it. And the same goes for the private moments in their lives, of course.

gutterslob wrote: ↑

Tue Jun 28, 2022 6:34 pm

Best was the sound design. I could actually hear what they were saying unlike 90% of modern movies where I still need to look at subs to make out what characters say half the time (industry experts seem to blame Nolan for this, I have no idea if true) because everything sounds so compressed and muffled.

No idea if it was Nolan either but I agree with the sound experience with modern movies and also shows. We almost always put them on with subs to understand the damn speech. Even with headphones you can notice how the music punches into your ears but you still need more volume for dialogue. I would also blame Dolby Surround but we only have stereo.

We're All Going to the World's Fair
I don't know, I get the coming-of-age hard times, and it's great to bring the dialectics of social web to the party, but I still feel like Unfriended and Unfriended: Dark Web, silly as they in many regards were, tackled some of the same issues more directly.

ivanovnegro wrote: ↑

Wed Jun 29, 2022 8:14 pm

No idea if it was Nolan either but I agree with the sound experience with modern movies and also shows. We almost always put them on with subs to understand the damn speech. Even with headphones you can notice how the music punches into your ears but you still need more volume for dialogue. I would also blame Dolby Surround but we only have stereo.

The thing is George Lucas tried hard with THX to make sure both audio and visual experiences were at the top of their possibilities back in his time. Nobody understood his plan, in my opinion, and they actually thought using higher soundtracks and sounds was only what he was after. As if the louder the better, completly mixing up voices with backgrounds, surrounding noises with music. Nolan has been the tip of the iceberg in this regard.

Immerse yourself into a cold, distant and snowy Istanbul.

https://www.imdb.com/title/tt0346094/?ref_=fn_al_tt_1

Resident Evil: Welcome to Raccoon City
I am not sure if this is the worst or the second to worst chapter of a franchise that has become strangely dear to me.

Panama
I still believe Mark Neveldine and Brian Taylor did two good films and a great but underapprieciated one. After that, they went on different roads and the results are little more than abysmal.

Elvis
I was really looking forward to this because I love Baz Luhrmann (expect for the messy Australia). This follows more or less the approach he used for The Great Gatsby, and it's clearly designed to be experienced on a huge screen and as loud as possible*. Along with his usual style, Elvis is relentless, and I was expecting people to leave after the first hour of crazy editing, split screens, flashy colours and what have you. I'll surely go for the Blu-ray when it comes out, but just like Mad Max: Fury Road, it will not be same.

* I think I said it before, but anyway: it's nearly impossible to catch non-dubbed films in a cinema here, and they rarely show something I want to see. I have a 20-minute car drive to reach one of the only two cinemas that has the courtesy of showing films as they are meant to be. Well, once a week and usually just one time overall if they don't sell many tickets. Stupid dubbing.

GekkoP wrote: ↑

Wed Jul 06, 2022 8:25 am

Stupid dubbing.

Same here in Germany and of course in Spain, that I just got back recently :). That is one of the reasons why we rarely go to the movies.

In Serbia for example, small country, everything apart from some animations for kids, is in original. People there learn English and Spanish just by watching movies and shows. Just recently in Valencia we met a Romanian couple and the woman spoke easily Spanish. Her source were the damn telenovelas or whatever is popular right now in Latin America.

Herr Bachmann und seine Klasse
Long, yes, sometimes relatable (at least for the other person on the sofa with me) sometimes not. Interesting, but don't ask me to sit through it again.