Actually saw this back-to-back with a rewatch of the first film, which was still pretty good. This sequel was not as good, but at least it wraps up the story this time (except for the parts that were never explained). Wild VFX-heavy mash-up of sci-fi and old-school period Martial Arts fantasies brings 14th century characters into the present and features lots of fun action, mass destruction and tentacles along with a few story lulls. Extensive alienoid pwnage at the climax helps.
Yeah, it wasn’t as bad as the bulk of his work. But for me the only really great scene was where the late great Dyanne Thorne plays Belushi’s dad.
There was the bit where Belushi goes to hand the map to his boss, only for a breakaway-faction agent to reveal himself: swiping it, and swiftly getting it to a confederate, before being taken into custody.
“Henderson was with them?”
“Yeah. He didn’t get the map.”
“What was that?”
“It was a message: telling them to give up, I know who their leaders are.”
“Who are their leaders?”
“…I dunno.”
Yeah. A lot of vibes, a little plot.
I guess Real Men isn’t as unknown as I thought it was.
Happy pie?
Le Samourai - The 4K restoration of Melville’s 1967 neo-noir, telling the story of an ice-cold assassin (Alain Delon) betrayed and seeking answers. The inspiration of a bunch of greats in the genre from John Woo to David Fincher. If you haven’t seen it, go! If you’ve seen it, get to a theater and experience cinematography as a character on the big screen.
It felt like a tired rip off of Seven.
Amadeus (1984)
I watched this again for the first time in 40 years and it’s even better than I remember. And funnier. And I don’t mean Tom Hulce’s Mozart as much as F. Murray Abraham’s slow burn as Salieri. He’s like some kind of repressed Larry David character and he’s absolutely hilarious. The 3hr director’s cut doesn’t have a slow moment in it and just flew by.
Men (2022, Paramount+) It was alright. It was mentioned above that this film improved on a subsequent viewing and that intrigued me. I love all film, but rarely go back to a horror because the gimmick is given away. So for another film fan to not only watch a horror film again but say it improves was enough to try it.
It was alright, but I can’t comment much more than that. It was different, and I have thought about it days later. I’d say it qualifies as social commentary and that it is a horror is part of the conversation it wants to have.
I don’t think I’ll gain much more on further viewings but like it enough that I would see it again. That is no small achievement.
100% agree. The extended scenes fill out Salieri’s role in the story and do a far better job of showing Mozart’s issues with his father which are necessary for the final Opera. The original length is great, but I am glad the extended cut exists and prefer it.
Is there even a clear message? “All men are the same”? “Men = bad”?
I’m not sure.
These are online men. These assholes, even the weird punk kid, are all online male toxic behavior. Every interaction she has with men in the film is degrading, mean, or uncaring. But the film doesn’t stop there, there is more to unpack.
I dunno. I’ve seen it twice and I didn’t pick up on them being online men. I’m both fascinated and honestly lost at what they meant with this movie.
This was one of my favorite films when I was young (I played piano then). I just saw that it’s coming to Netflix and am planning on watching it again; like you, for the first time in a long while. Is the director’s cut on Netflix or did you watch that somewhere else?
I always entertain the possibility that I can be wrong, but I sat through this entire film believing it was attempting to say something profound rather than just trying to scare you.
It wasn’t that scary and I don’t blame people for being confused if that is what they thought the intention of this film was.
Above average femsploitation, elevated by Rory Kinnear’s giving it 110%
I saw it not long ago, with the score performed live by the Cleveland Orchestra, and loved it all over again. Did you notice a very young Cynthia Nixon as the maid Salieri places in the Mozart household as his spy?
My latest five:
F for Fake
A self-indulgent, late-career Orson Welles movie, prominently featuring him. A meandering tale of art forgery and the blurry line between illusion and reality. Meh.
Dungeons & Dragons: Honor Among Thieves
Silly, adventurous fun, and a must-see for anyone who’s ever played D&D. Chris Pine, Michelle Rodriguez and Hugh Grant lead the cast; Justice Smith is a standout as an aspiring wizard with low self-esteem. Two thumbs up.
Dune: Part Two
An exciting and worthwhile sequel, moving Paul Atreides, his mother, her unborn child and the Fremen of Arrakis ever closer to their shared destiny.
Sakamoto: Opus
In-studio recital movie featuring the late Japanese movie-music composer Ryuichi Sakamoto playing his works on solo piano. Very little dialogue; quite a lot of beautiful music.
A Night to Remember
A 1958 British epic about the RMS Titanic disaster. I didn’t like it as much as the 1997 James Cameron blockbuster; it’s melodramatic and sometimes the sfx are obviously fake, but it’s still a pretty good movie about the sinking.
Sure. That’s how they got a rando to buy a ticket. Agreed.
Barbie is ‘Men are Bad so Fight the Patriarchy!’ but at least it was fun and somewhat funny.
If Men offered nothing else it would be a shame. However, I think there is more to it.
Look at me, defending this film I didn’t really like.
It offered the greatest birthing scene since Xtro. I’ll spoiler link the Xtro moment below since it is pretty intense.
Orson Welles actually came to Cambridge Massachusetts to present this at the Orson Welles Cinema (the only time I’m aware of that he actually appeared there.) when the film first came out.