PLEASE USE SPOILER TAGS

I'm sure most here have heard of the upcoming Karate Kid with both Ralph Macchio and Jackie Chan.

Given that the 2010 movie was remake, it follows the first movie almost beat for beat on its plot points. Kid gets bullied for liking a girl, gets a martial arts teacher who's an apartment handyman, evil teacher who's motto is "No mercy," etc.

That's all fine and dandy in a remake and the movie itself is decently entertaining.

But if Mr. Han (Chan) meets Daniel LaRusso, what's going to happen when they go for coffee or whatever and Daniel tells him his background on how he learned Karate? Mr. Han is going to start tripping balls since he'll realize that Daniel's story is beat-for-beat the same as Dre's (Jaden Smith).

It's for these reasons I'm only going to accept this new film as multiverse crossover. I'm totally joking, if its anything like the Cobra Kai series, I'm sure it'll be a fun movie on its own.

I saw the new trailer and it looks like it's living up to the hype, which I'd be shocked if the final product in theaters didn't.

This is certainly the most unique MCU project we've had yet and it'd gonna go hard with being all batshit wild which I certainly wouldn't expect any less from Deadpool, but with Wolverine involved 👌🏻👌🏻

And I can see that Wolverine is the straight man in this movie, which will make for a great dynamic between the two title characters.

I just can't wait to see R rated Wolverine in his prime here. As much as I love Deadpool, I'm looking forward to Wolverine the most.

Sometimes movies never find their audience. Sometimes it’s because of bad marketing.

The new kids from 1985. A brother sister duo in a fairy small stakes fight against the small town bullies with James Spader is one of my favourite movies. I was shocked that it has 6.5k views on Letterboxd. Which might not be the best barometer for popularity but it’s the best one I can think off.

Similarly Firstborn from 1984 with Corey Haim and Peter Heller as the dirt bag father figure. Another sibling story of two brothers dealing with their mother dating a jerk and how they deal. Only has 2.5k views on Letterboxd.

If it’s not clear big fan of siblings up against the world the more grounded the better.

What are your niche favourites. The more niche the better.

I’m a huge fan of horror and would enjoy watching along with other horror movie fans. I’ve been doing it lately on Discord and if this sounds like something you’d enjoy shoot me a message!

Inspired by an exchange on another thread which I've seen repeated many many times before. It goes something like this:

"Starship Troopers sucked."

"No man, Starship Troopers is satire, when you watched it as a kid you only saw the exploding insects, but as an adult you see the commentary, bro, the commentary on how the military is, like, (rips bong. coughs) fascist, man!"

"I'm telling you, why would an actual satire spend so much time and m—"

"AND ANOTHER THING! It's crazy how so many people don't even get that it's satire, like, they even had the same uniforms as the Nazis!"

Starship Troopers is great in that the director managed to betray the source material. That's cool, that feels great. Woo. But he still delivers a movie which needs to sell, and sell a mainstream story. So the story is aggressively mainstream, aggressively violent, and so on. But the ending is still the white guys winning. They still get the bug. In the alt ending, he still gets the girl.

You could argue that the ending is needed because, in real life, this absurd jingoism and nationalism is still real and present. But for that to be true, the rest of the film sans the ending needs to actually say something. And the elements that are satirized need to have a sufficiently muddled victory that we are sure the argument is, yknow, actually to criticize and not a postmodern sort of "I hate it and I love it, I can't not be a part of this like a rat in a cage, based on the reception I'll decide how real this all is."

This last point is actually a major problem in cinema. Tarantino doesn't satirize violence, he also loves violence. Like Verhoeven, Tarantino sells hyper violent movies in large part because they sell. He works with this cleverly, eg the German sniper movie within a movie, but, like Verhoeven he never moves beyond this weak criticism, and in the end the material success from a portrayal of violence undermines the critical nuggets we wish we saw inside.

Overall, 3.5/5. Total Recall was better, but anything is better than RoboCop

Recently saw Jonathan Glazer's Zone Of Interest and was blown away. Despite nearly everyone telling me how boring and uneventful it is I found myself completely enthralled. Much has been said about the sound design but not enough about the cinematography and set design. I find this movie gorgeous in its minimalist aesthetic, and its very subdued camera work. Turns out Glazer filmed most of it by staging cameras in different parts of the house and having his actors go through the motions. It really adds to the atmosphere of realism, I felt like I was intruding on a family's daily routine.

It reminds me of how I felt about Todd Field's Tár, a similarly very slow and subdued film. Another movie it reminded me of (although certainly less cynical and disturbing) was Columbus by Kogonada. Are there any other films in this style?

The main examples I could think of would be Julie & Julia and Godfather 2. Both were because the different stars' storylines took place at different times.

Those are the only two examples I can think of where both roles (Julie Powell/Julia Child and Vito Corleone/Michael Corleone) were the main characters with storylines that spanned the entire film yet neither actor interacted with the other.

I suppose you could also count The Ballad of Buster Scruggs but that was an anthology film so it wasn't quite the same.

What movies absolutely have to be seen on a big screen (and/or benefit hugely from it)? If you had a massive screen to yourself for a month and could watch any movies you wanted on it, but you only could choose like 5-6 at most, which would you choose?

No restrictions whatsoever. I know some might just take this as just another "what's your favorite movie" question but that's not what I necessarily mean to ask (unless thats your genuine answer). Imo the greatest big screen experiences in movie are Dune 2, Interstellar, and Saving Private Ryan, nothing else has come anywhere remotely close to any of those three for me. What I'm somewhat searching for are big screen/theater environment experiences which can rivak any of those. It's not just a question of what's the greatest movie, because for instance many great movies don't quite blow you away by the image, sound, or pure cinema experience but do so in other ways - in some cases only not matching these due to technological limitations of their era

Thanks!

Maybe it was a long time coming after multiple movies left you feeling disappointed. Perhaps it was the first movie of theirs you happened to watch that just made you think they will never be for me.

I have two maybe controversial picks. Mission impossible 2. John Woo is just not for me. It’s the only one of his I’ve watched and I do not intend to watch more of them. No disrespect to fans of the director and I’m sure his other movies are great but I genuinely couldn’t stand a single thing about this movie.

My second is Wes Anderson after Asteroid city. I love him as a creator and I’m glad he hasn’t felt the push to be even more accessible. The royal Tenenbaums and fantastic Mr fox might be two of my favourite movies of all time. With a shout out to the grand Budapest hotel. Watching Asteroid city made me think about all the times my friends and family who just couldn’t get into Andersons movies I finally understood it. It’s his most self indulgent movie imo and for me personally was really emotionally hollow.

Try and be respectful please. Remember it’s just a discussion on subjective opinions.

Edit. I’ll add another director I’ve written off is James Wan. I initially liked him with the conjuring but every movie I watched after soured my view of his style. Malignant almost made me give up on him but after watching Saw I told myself never again. I love horror as a genre and had high hopes but while the writing of the movie bothered me the direction pushed it over the edge for me.

And I hear a lot of comments saying I shouldn’t judge him on his worst movie and that’s fair. While hard target and face off are non starters to me because of the cast. I will at least attempt the killers which I’ve seen a fair few people recommend now.

Every time I try to post there, I fall on deaf ears. 😓 Any discussion I attempt to start there gets buried, and I don't know why.

That's why I love it here! Y'all are always so engaging and have the best recommendations. 🤓 I have so much fun here!!

I'll start off by plugging Jon Bernthal's character Griff in Baby Driver. "Okay folks, if you don't see me again... it's 'cause I'm dead!" 😎 A line delivered before exiting the movie entirely. 🤣 I get endless amounts of enjoyment from Bernthal's entire performance in this scene. From his body language to his dry/deadpan delivery as he looks directly into the camera before walking off!! 😅

Honorable Mentions to Monty Python and the Holy Grail's "cop out" ending (which took me YEARS to catch) and Egon subtly signaling to Venkman in the original Ghostbusters as they negotiate fees with the hotel manager after their first bust. 😂

Basically I am referring to the trope where it seems like a minor mistake somebody made turns out to have serious consequences later on as it has an enormous impact on the plot.

To illustrate an example, there is a scene early on in the original Clerks movie where Randal just carelessly hands a pack of cigarettes to a minor, and it seems to be forgotten for a good while, but later on in the movie, it leads to deadly consequences for the main character Dante as it’s an interesting moment for a cynical comedy.

Question, What are your thoughts on Pretty Baby

I must say, this is one complex film with a complex subject. The film stars Brooke Shields as Violet, a 12 year old girl that is raised in a brothel by her mother. The film also stars Susan Saradon as Hattie, her mother, and Keith Carradine as E.J Bellocq, a photographer and later Violet’s lover and husband.

In my opinion, this is Brooke Shields best performance. There is something tragic when we see Violet, as we bear witness to Violet’s loss of innocence and how she is being manipulated into a situation she has no control over and no real understanding of what is happening.

What I find fascinating in this story is that this was based on a true account and that this actually happened.

On the Subject of exploitation, I think Louis Malle did a great job of making sure the subject didn’t go down the path of Child Pornography. When something does to Violet, whether she has sex or is naked, it is mostly implied or happened off-screen. The one time we do see Violet fully naked, it is 1 scene that happens in the last 23 minutes of the film and it is not pornographic. Rather, what happens is that Bellocq is trying to get her to stay still so that he can take a picture, but she doesn’t and is annoyed and he is annoyed. Violet then breaks his silver nitrate pictures, and he slaps her and she decides to leave and go back to the brothel.

I think Kieth Carradine does a good job as Bellocq and one thing I like what Malle did while he cared for Violet in his own weird way, he was not a good person. One thing that amazed me is that Jack Nicholson, Christopher Reeve, John Travolta were considered for the role. Susan Sarandon was also good as Hattie.

I think a lot of people miss the point of this film, in large part due to the complex subject, and the fact that, and I agree, Brooke Shields mother really didn’t care what happened to Brooke and what the cause was, just as long as she became famous and got money out of it. I think Louis Malle wanted to show what happened, warts and all. I also tried to do it with dignity and the understanding of “Look, this stuff happened at a specific period, there is no sugarcoating this”.

I also read from interviews, that Brooke Shields looks back fondly at the experience, but she acknowledges that she wouldn't put her daughters through this.

Overall, I think Pretty Baby is a very complex and interesting movie with a complex subject.

What do you think of Pretty Baby?

I live in Australia, so the movie released here on the 18th, and I thought it was absolutely incredible and easily Luca’s best film. The score in particular is just outstanding. Here is my review if anyone is interested.

I'm pretty big on watching anime, I've watched a decent amount of anime series and anime movies, but I realized that I'm seriously lacking in the live action department.

I have watched a decent amount of Korean movies but noticed that they're all 2000 or newer. And I was wanting to fix that.

I'm pretty new to Hong Kong movies. Only watching one so far. (Chungking Express). And I'm looking for more. I know about In the Mood for Love, but I was wanting to check out older movies as well. Though, feel free to recommend any newer that you feel don't get mentioned that much/if at all if you want.

I love when there's a woman main character or secondary character, but that's not a mandatory thing to have. Both the main character and secondary character can be men.

I enjoy it when people wear great outfits/clothes, so any you could recommend where people wear great clothes are a nice bonus. Not a mandatory thing to have, just would be nice.

I'm fine with animation and live-action. I've watched a decent amount of Studio Ghibli movies from the 80s to now, as well as some anime movies not Studio Ghibli from the 90s to now. I'm just lacking earlier on in animation and live action.

TIA

So I posted this in the punk and music subs, because I'm thrilled to see Suicide out there, and as a DJ that's been impacted by electronic music as a filter of genres (punk, goth, etc), I'm hoping to see some more influence on future music with creative electro-punk. I guess I'm posting here just because of the first link: If you heard their ballad in Love Lies Bleeding, or the final track in Alex Garland's Civil War... I figure I'd spread some love of this band that very few people know about, or recognize their importance in informing music history. That first hyperlink of people they influenced will blow your mind: Depeche Mode, New Order, The Jesus and Mary Chain, Joy Division, Siouxsie and the Banshees, Nine Inch Nails, Ministry, The Soft Boys, Bruce Springsteen, Spacemen 3, Primal Scream, Moby, Radiohead. So here we go!

--------------

TL;DR - what is your favorite electro-punk?

---------------

Suicide is a "band's band" in that they influenced absolutely everything post 1970s, namely both punk and electronic. It's unreal they were so under the radar for so long (outside of fans and genre aware people, or musicians and producers, etc), considering they've been around 1970s - 2000s.

They just had a track featured in A24's erotic fitness murder noir "Love Lies Bleeding": I Surrender

(btw, searching "Suicide I Surrender" doesn't get you to the song that quick LOL)

And Dream baby Dream was the PERFECT ENDING to Alex Garland's Civil War (that film is unreal)

Just some cool stuff. I grew up with mid 80s to mid 90s punk in the SF Bay Area, including DK, Op Ivy, but I always loved how the scene was so welcoming and diverse with punk adjacent genres, etc. r/folkpunk, Oi, Hardcore, Pop punk, Ska Punk, Ska Core, Anarcho, Horror, Riot Grrl, Celtic, Garage, Post-punk, Psycho-punk... I'm sure there's a few more =)

But man, Electro-punk needs some love. Electro-clash too!

Any other bands you'd include? I'd love to debate which of these is or isn't.
- Atari Teenage Riot
- Mick Jones' Big Audio Dynamite fits big time! (I love this album, one of my first records).
- Crystal Castles
- The Faint
- Mindless Self Indulgence
- Suicide
- Quintron and Miss Pussycat?
- The Prodigy
- Le Tigre
- Peaches
- Death From Above 1979
- Kap Bambino
- LCD Soundsystem?
Now, these go off the rails as to punk, but the ethos is there? I know they've all their own genres, but would this fit?
- Kraftwerk
- Einstürzende Neubauten
- Frontline Assembly
- KMFDM
- Skinny Puppy
- Ministry
- Nitzer Ebb
- Front 242

Anything I missed or other recommendations? THANKS ALL!

Here are Orson Welles’s unrealized projects

Heart Of Darkness- In 1939, Welles intended to make his feature directorial debut with a film adaptation of Joseph Conrad’s Heart of Darkness for RKO Pictures. It was planned in extreme detail and some test shots were filmed; the footage is now lost. It was planned to be entirely shot in long takes from the point of view of the narrator, Marlow, who would be played by Welles; his reflection would occasionally be seen in the window as his boat sailed down river. The project was abandoned because it could not be delivered on budget, and Citizen Kane (1941) was made instead

Mexican Melodrama- Welles wrote an unproduced screenplay titled Mexican Melodrama, which was to have been a film adaptation based on Arthur Calder Marshall’s The Way To Santiago. Dolores del Río would have starred in the film as Elena Medina, "the most beautiful girl in the world", with Welles playing an American who becomes entangled in a mission to disrupt a Nazi plot to overthrow the Mexican government. Welles planned to shoot in Mexico City in 1941, but the Mexican Government had to approve the story, and this never occurred

The Life Of Christ- In 1941, Welles received the support of Bishop Fulton Sheen for a retelling of the life of Christ, to be set in the American West in the 1890s. After filming of Citizen Kane was complete, Welles, Perry Ferguson, and Gregg Toland scouted locations in Baja California and Mexico. Welles wrote a screenplay with dialogue from the Gospels of Mark, Matthew, and Luke. "Every word in the film was to be from the Bible—no original dialogue, but done as a sort of American primitive," Welles said, "set in the frontier country in the last century." The unrealized project was revisited by Welles in the 1950s, when he wrote a second unfilmed screenplay, to be shot in Egypt.

Lady Killer- In 1941, Welles intended to write and direct a "dramatized documentary", provisionally entitled Lady Killer, based on the story of French serial killerHenri Desire Landru. He pitched the idea to Charlie Chaplin, who initially agreed to star in it, but later changed his mind. Instead, Chaplin bought the film rights and turned Welles' story into Monsieur Verdoux (1947). The final film credits Chaplin with the script, "based on an idea by Orson Welles"

Around The World In 80 Days- After Welles's elaborate musical stage version of this Jules Verne’s novel, encompassing 38 different sets, went live in 1946, Welles shot some test footage in Morocco in 1947 for a film version. The footage was never edited, funding never came through, and Welles abandoned the project. Nine years later, the stage show's producer Mike Todd made his own version.

Evidence- In 1947, Welles purchased the film rights to Isaac Asimov’s short story "Evidence" for $250, with the intention to direct. Asimov thought that he would become famous from a film based on the story, but Welles never used the script

Cyrano de Bergerac- Welles spent around nine months around 1947–48 co-writing the screenplay for an adaptation of Cyrano de Bergerac along withBen Hecht, a project Welles was assigned to direct forAlexander Korda. He began scouting for locations in Europe whilst filming Black Magic, but Korda was short of money, so sold the rights to Columbia Pictures, who eventually dismissed Welles from the project, and then sold the rights to United Artists, who in turn made a film version in 1950, which was not based on Welles's script.

Moby Dick- Rehearsed- Moby Dick- Rehearsed was a film version of Welles's 1955 London meta-play, starringGordon Jackson, Christopher Lee, Patrick McGoohan, and with Welles as Ahab. Using bare, minimalist sets, Welles alternated between a cast of nineteenth-century actors rehearsing a production of Moby Dick, with scenes from Moby Dick itself.Kenneth Williams, a cast member who was apprehensive about the entire project, recorded in his autobiography that Welles's dim, atmospheric stage lighting made some of the footage so dark as to be unwatchable. The entire play was filmed but is now presumed lost. This was made during one weekend at the Hackney Empire theater.

Don Quixote- As early as 1955, Welles began work on Don Quixote, initially a commission from CBS television. Welles expanded the film to feature length, developing the screenplay to take Quixote and Sancho Panza into the modern age. Filming began in 1957 and proceeded for several years until the death of actor Francisco Reiguera in 1969, who had played Quixote. Welles continued editing the film into the early 1970s. At the time of his death, the film remained largely a collection of footage in various states of editing. The project and, more important, Welles's conception of the project changed radically over time. A version Oja Kodar supervised, with help from Jess Franco, assistant director during production, was released in 1992 to poor reviews. Frederick Muller, the film editor for The Trial, Chimes at Midnight, and the CBS Special Orson's Bag, worked on editing three reels of the original, unadulterated version. When asked in 2013 by a journalist of Time Out for his opinion, he said that he felt that if released without image re-editing but with the addition of "ad hoc" sound and music, it probably would have been rather successful.

The Deep- The Deep, an adaptation of Charles Williams’s Dead Calm. was entirely set on two boats and shot mostly in close-ups. It was filmed off the coasts of Yugoslavia and the Bahamas between 1966 and 1969, with all but one scene completed. It was originally planned as a commercially viable thriller, to show that Welles could make a popular, successful film. It was put on hold in 1970 when Welles worried that critics would not respond favorably to this film as his theatrical follow-up to the much-lauded Chimes At Midnight, and Welles focused instead on For Fake. It was abandoned altogether in 1973, perhaps due to the death of its star Laurence Harvey. In a 2015 interview, Oja Kodar blamed Welles's failure to complete the film on Jeanne Moreau's refusal to participate in its dubbing.

The Merchant Of Venice- Differing sources give the film's running time as between 30 and 40 minutes. Welles started work on the film in 1969. It was originally produced as part of his abandoned 90-minute television special, Orson's Bag, which was made for CBS; but later that year, with the project close to completion, CBS withdrew their funding over Welles' long-running disputes with US authorities regarding his tax status, and so Welles completed the film as an independent project. Welles completed the film by 1970, but the finished negative was later mysteriously stolen from his Rome production office. A restored and reconstructed version of the film, made by using the original script and composer's notes, premiered at pre-opening ceremonies of the 72nd International Venice Film Festival.

Saint Jack- In 1978, Welles was lined up by his long-time protégé Pete Bogdanovich (who was then acting as Welles's de facto agent), to direct Saint Jack an adaptation of Paul Theroux’s 1973 novel about an American pimp in Singapore. Hugh Hefner and Bogdanovich's then-partner Cybill Shepherd were both attached to the project as producers, with Hefner providing finance through his Playboy productions. However, both Hefner and Shepherd became convinced that Bogdanovich himself would be a more commercially viable director than Welles and insisted that Bogdanovich take over. Since Bogdanovich was also in need of work after a series of box office flops, he agreed. When the film was finally made in 1979 by Bogdanovich and Hefner (but without Welles or Shepherd's participation), Welles felt betrayed and according to Bogdanovich the two "drifted apart a bit"

The Dreamers- In the 1980s, Welles attempted to make The Dreamers, which he co-wrote with Okja Kodar. Hal Ashby's production company Northstar was to have financed the project but backed out upon reading the script. Henry Jaglom also attempted to finance the project.

The Big Brass Ring- Written by Welles with Oja Kodar, The Big Brass Ring was adapted and filmed by director George Hickenlooper in partnership with writer F.X Feeney. Both the Welles script and the 1999 film center on a U.S. presidential hopeful in his 40s, his elderly mentor—a former candidate for the Presidency, brought low by homosexual scandal—and the Italian journalist probing for the truth of the relationship between these men. During the last years of his life, Welles struggled to get financing for the planned film, and his efforts to cast a star as the main character were unsuccessful.Jack Nicholson, Robert Redford, Warren Beatty, Clint Eastwood, Burt Reynolds, and Paul Newman turned down the role.

King Lear- At the time of his death, Welles was in talks with a French production company to direct a film version of the Shakespeare play King Lear, in which he would also play the title role.

Roles Orson Welles was Considered or Turned Down

Richard III (1955)- (Role: Duke Of Buckingham) (Actor who got it: Ralph Richardson) (Reason: Laurence Olivier had wanted to cast him as the Duke of Buckingham in Richard III, his film version of William Shakespeare's play, but gave the role to his close friend Ralph Richardson, because Richardson wanted this. In his autobiography, Olivier says he wishes he had disappointed Richardson and cast Welles instead, as he would have brought an extra element to the screen, an intelligence that would have gone well with the plot element of conspiracy.)

The Last Hurrah (Role: Frank Skeffington) (Actor who got it: Spencer Tracey) (Reason: John Ford admired Orson and wanted him for the role. Orson Also admired John Ford, bur turned the role due to Scheduling Conflicts)

The Twilight Zone (Role: The Host) (Actor who got it: Rod Serling) (Reason: not a Film, but CBS wanted Welles as the host for the Twilight Zone, but Welles wanted too much Money, so they got Rod Serling)

The Godfather- (Role: Don Vito Corleone) (Actor who got it: Marlon Brando) (Reason: Welles very much wanted the role of Don Vito Corleone, and campaigned for the role. "I would have sold my soul to play the godfather" in Francis Coppola's film, "but I never get those parts offered to me at all." Welles stated in Orson Welles Interviews.

Fantasy Island (Role: Mr. Roarke) (Actor who got it: Richardo Montalbon) (Reason: Not a Movie, but apparently ABC wanted Welles for the television series, Fantasy Island, but Aaron Spelling insisted on Ricardo Montalbon)

Star Wars- (Role: Voice of Darth Vader) (Actor who got it: James Earl Jones) (Reason: He was George Lucas’s First Choice, bur turned him down, fearing that Welles’s voice was too recognizable)

Apocalypse Now (Role: Walter E. Kurtz) (Actor who got it: Marlon Brando) (Reason: Welles was Coppola’s 1st choice for the role, but Welles turned him down)

Overall, What do you think?

In my opinion, Orson Welles was a real talent and it is a shamed that after Citizen Kane, he had a target on his back. I feel any project Welles tried to make would of been interesting or great. I wished we saw Don Quixote or The Deep. Welles's Heart Of Darkness, or The Life Of Christ would of probably been great too. I also wished Welles had funding for Around The World In 80 Days.

Which project do you wish Orson Welles made or was involved?

I love horror, but especially when the score is weird and unconventional. Any suggestions for film scores to listen to?

Looking for a music drop that elevates everything the film has been building towards.

End songs fine but a song drop mid film that comes with full feels - especially :)

Or even a film that starts with a song and sets the tone.

Zootopia

I get it...I get it...

It's a kids movie

But goddamn, when it first came out, GROWN ADULTS were treating it like it was the most important movie of our times! It had a near perfect rating on Rotten Tomatoes. AFI named it as one of the Top Films of 2016, there were articles going "Can you believe a Disney movie said THAT?!", there were reports of fucking grown ass cops watching it to learn not to be racist, and just look at its Best Animated Oscar Presentation: https://www.youtube.com/watch?v=BYukH-qVcIg

And I get it people were afraid of Trump, as I was, but, well, hyping up the most recent at the time movie with an anti-racism message didn't exactly stop the guy from getting elected did it? And using it for police trainings didn't exactly stop police violence against minorities either now did it?

Sure the movie gets political IN THE THIRD ACT but people were acting like the third act was the entire damn movie when, at the end of the day, it was really just a generic kids movie with the only thing really sticking out about it was its message and the chemistry between its leads. If it came out in, say, 2012 people would've just said that was pretty good but it wouldn't have gotten the "It's the most important movie of our time" moniker that it got in 2016.

I’m watching the second equaliser for the first time and it has me wondering. Melissa Leo character is clearly not meant to be the same one man army as Denzel. Which made me wonder about action movies with regular people. Granted she clearly works for the government

I’m talking no cops, no secret agents, no retired people, no magic power or something else

https://youtu.be/hJiPAJKjUVg?si=glFaFOjE6Ywl5JS6

Whenever I'm worried about stuff horror movies take my mind off things. I'm looking for movies that are really fucked up. The kind of feeling when you saw the ring for the first time when you were a kid and couldn't sleep for a week. I want to be freaked the fuck out. I thought hereditary was alright but I also thought sinister or the conjuring were too corny or milk toast for me. I also thought funny games was really good and disturbing. I want something hardcore. Freak me the fuck out y'all.

Are there different cuts of this movie? Because upon a rewatch recently I noticed differences between the version I originally saw and the one I watched just now. Noticeably, the scene at the medical examiner's office: in the version i originally saw Olson was a lot more upset at the ME for not ruling the girl's death a homicide. Also a few small dialogue changes, they cut some swearing out in the version I recently watched. And finally the biggest difference for me was the addition of the scene where Bernthal's character helps his gf her escape from her rapists. The version I saw never had the rape scene at all and cuts from when they notice her unconscious right back to the present day shoot-out.

Anyways I posted this in r/movies but they're pretentious cunts who can't answer a simple question. I've seen clips on YouTube that are obviously from the version I saw so, I'm wondering if someone can give me some answers to this.

EDIT: So apparently I'm not to only person to notice this. The Version I originally saw had Korean subtitles (if you go on youtube you can find clips from this version). It also featured all three coyotes being shot and killed by Renner's character in the beginning of the movie. I saw some people saying this was also the version they saw screened at Sundance when the movie was released so turns out I'm not crazy, there are apparently at least 2 cuts of this movie.

My wife is working a bunch lately so I have time to watch things she's not into like horror.

I have a fairly wide taste but kind of specific. I'm not into for lack of a better word 'jump scare' type horror. I like the stuff that is a bit more out there. Violence is fine but I'm interested in things that are straight up 'torture porn'

Some of my favorites are:

• Midsommar
• Infinity Pool
• Hereditary
• The VVitch
• The Exorcist
• X
• Pearl (Hyped for MaXXXine)
• House (1977)
• Evil Dead 1&2/Army of Darkness/Evil Dead Rise
• Alien
• Blue Velvet (if that's horror)

OK Movies:

• Annihilation
• Bodies Bodies Bodies
• It

Didn't Like:

• Men
• The Ring
• Beau is afraid

Sea Fever

2019 · DIRECTED BY Neasa Hardiman

If anyone here has seen this film please feel free to share your thoughts and discuss it in the comments.

I am currently in the best mood to share my thoughts on an Irish horror creature-feature with an assonant title I watched a few years ago. This is not deep enough for r/truefilm and probably too much for r/movies so I decide to post it here.

Spoilers ahead, watch out.

"Sea Fever; One Of Them Gets It... Then spreads it around"

This is one of the most beautiful and weirdest films of all time. It has the plot of a campy B-movie from the 50s and the execution of a Lars Von Trier film.

The cinematography was astounding. Throughout the film, I felt like that I was actually in a seafaring adventure. The peaceful scenery of the sea off the coast of Ireland brilliantly juxtaposes with the dark interiors inside the boat, creating a sense of awe, wonder, and suspense. Despite the film being a creature feature, the literal "creature" mostly did not physically interact with the human characters on the film, but is portrayed as a symbolic creature of dread lurking in the shadows of the deep. The parasite acts as manifestation of how evil can spread from one person to another very quickly and eventually consume all of the people. This film hits even more harder after the Covid-19 Pandemic.

The ending cliffhanger is tragic and rewarding, and somehow ironic at the same time. Despite the fact that the last man surviving escaped the monster itself and the disease, he will not eventually reach home with only a small paddle boat due to the fact that the boat was severely damaged.

If this film was required viewing for every worker in the water industry, then we will have cleaner waters and less pollution.

Review on Letterboxd

Question, Do you think Martin Scorsese will finally make Sinatra?

A few days ago, Variety dropped an article on how Scorsese plans to shot two films back to back, one being his Jesus project, which he will bypass Hollywood and independently finance it with hopes to get Andrew Garfield and Miles Teller for lead roles. The other project, I think surprise everyone is The Frank Sinatra Biopic.

If you don't know the history, Scorsese has been trying to get his Sinatra biopic off the ground for years. First with John Travolta in the lead role, and I think Di Caprio from an earlier attempt, but he has always had troubles getting it off the ground, in large part because of Estate not agreeing with some things that Scorsese wanted to show in his film, largely Sinatra's mob ties and Sinatra's darker side.

Now it looks like Scorsese is once again trying to get Sinatra off the ground, with DiCaprio in the lead role and Jennifer Lawrence as Ava Gardner and he plans and hope to film it after he is done with his Jesus Project. There is also a TMZ article with they interview Nancy Sinatra on this and it sounded like Scorsese finally manage to wear down The Sinatra Estate and got their approval.

https://variety.com/2024/film/news/martin-scorsese-frank-sinatra-biopic-dicaprio-jennifer-lawrence-1235973769/

https://www.tmz.com/2024/04/18/frank-sinatra-daughter-tina-react-martin-scorsese-dicaprio-biopic-approval/

All in All, Do you think Martin Scorsese will finally make Sinatra?

Hi! I’m currently working in a psychiatric hospital and, for an upcoming project, looking by for a few film scenes that have good and bad examples of hygiene/appearance. The film clips must be sensitive to the setting and fairly family friendly. Anyone have any ideas?