Thread: last movie you saw - and what did you think of it?

I saw Paranormal Activity 3 last night. It was terrible. Waste of time, and money.

Ps. I love you. It was good for a chick flick?

Watched Case 39. Not a bad horror movie. I was actually kind of scared. Didn't care for renee zelwidget but the film is pretty smart and its definitely worth a watch if you're up to get scared shitless

Just saw the movie The Prestige. Extremely good movie, one of those confusing ones you probably have to see a few times to understand it fully..one of my favorites.
Christopher Nolan is such a great director. I love him

Originally Posted by Erii

Just saw the movie The Prestige. Extremely good movie, one of those confusing ones you probably have to see a few times to understand it fully..one of my favorites.
Christopher Nolan is such a great director. I love him

lock stock and two smokinc barrels.

6/10 funny and cool plans

Inception, it was awesome except for the sappy love story underlining the whole narrative. How many fucking shots do we need of those little kids playing the ground? And what's the need for this emotional climax between Cobb and his wife when she's just a fuckin projection anyways. It's like when Tom Cruise was talking to Penelope on top of that building at the end of Vanilla Sky. It's like, you realize she's not real right? You realize your subconscious is creating her dialogue right? Stop talking to yourself Cobb, you have more important shit to be doing right now, like getting the fuck out of the dream before a chunk of rubble kills you so you can finally reunite with your kids that you've been fetishizing the entire movie.

edit: although Marion Cotillard is a goddess and I'm glad she got as much screen time as she did.

Dreams aren't real, get off this forum.

Originally Posted by CRAZY BONE

Inception, it was awesome except for the sappy love story underlining the whole narrative. How many fucking shots do we need of those little kids playing the ground? And what's the need for this emotional climax between Cobb and his wife when she's just a fuckin projection anyways. It's like when Tom Cruise was talking to Penelope on top of that building at the end of Vanilla Sky. It's like, you realize she's not real right? You realize your subconscious is creating her dialogue right? Stop talking to yourself Cobb, you have more important shit to be doing right now, like getting the fuck out of the dream before a chunk of rubble kills you so you can finally reunite with your kids that you've been fetishizing the entire movie.

explain face palm!

I caught the early showing of The Rum Diary this Thursday. Not horrible as far as movies go but I felt as though the director was leeching off the success of previous Hunter S. Thompson film adaptations. It was Fear and Loathing in Puerto Rico. It really bothered me that the director took the liberty of completely removing a key character from the plot for the sake of convenience. Anyone else who read the book see the movie?

Originally Posted by saltyseedog

explain face palm!

What's to explain? Everything he basically considered to be pointless and stupid was, actually, the entire point of the movie. The heist job was actually just the subtext that provided a reason for the actual plot of the movie (Cobb's guilt for leaving his family and causing Mal's death) to play out. It's actually a pretty weak action movie, so I wonder what someone who missed or disregarded Cobb's ordeal with his family would even take away from it.

The whole movie is about Cobb's catharsis, and being able to let go of the guilt he feels for leaving his kids and causing the death of his wife. Just like Crazy asked: "It's like, you realize she's not real right? You realize your subconscious is creating her dialogue right?" that's the whole point. He is so attached to her projection that he has been thinking of her like a real person. He's f'cked in the head, because of what happened to them, and his subconscious keeps working to 'drag him back into limbo' (to get him stuck on the concept of his wife and kids, so he won't leave them for the real world). He even expresses to Ariadne, during the snow mission that he questions whether or not Mal's projection is really her.

His struggle to deal with all of that is the entire movie. It's the basis of the entire story. Take that away, and you have just pretty simple action flick (from, arguably, not the best action director, despite his recent popularity) that's 'cool because it's about lucid dreaming'. But even some of the most compelling parts about the whole dream aspect is how Cobb's subconscious kept f'cking him over, with his family issues, and how elements of his past kept creeping into his present situation.

But, hey, that's just my two cents.

Originally Posted by Oneironaut

What's to explain? Everything he basically considered to be pointless and stupid was, actually, the entire point of the movie. The heist job was actually just the subtext that provided a reason for the actual plot of the movie (Cobb's guilt for leaving his family and causing Mal's death) to play out. It's actually a pretty weak action movie, so I wonder what someone who missed or disregarded Cobb's ordeal with his family would even take away from it.

The whole movie is about Cobb's catharsis, and being able to let go of the guilt he feels for leaving his kids and causing the death of his wife. Just like Crazy asked: "It's like, you realize she's not real right? You realize your subconscious is creating her dialogue right?" that's the whole point. He is so attached to her projection that he has been thinking of her like a real person. He's f'cked in the head, because of what happened to them, and his subconscious keeps working to 'drag him back into limbo' (to get him stuck on the concept of his wife and kids, so he won't leave them for the real world). He even expresses to Ariadne, during the snow mission that he questions whether or not Mal's projection is really her.

His struggle to deal with all of that is the entire movie. It's the basis of the entire story. Take that away, and you have just pretty simple action flick (from, arguably, not the best action director, despite his recent popularity) that's 'cool because it's about lucid dreaming'. But even some of the most compelling parts about the whole dream aspect is how Cobb's subconscious kept f'cking him over, with his family issues, and how elements of his past kept creeping into his present situation.

But, hey, that's just my two cents.

I wouldn't really say it's just your opinion, it's a fact.
Except for the not a good action movie part, of course.

Originally Posted by Oneironaut

What's to explain? Everything he basically considered to be pointless and stupid was, actually, the entire point of the movie. The heist job was actually just the subtext that provided a reason for the actual plot of the movie (Cobb's guilt for leaving his family and causing Mal's death) to play out. It's actually a pretty weak action movie, so I wonder what someone who missed or disregarded Cobb's ordeal with his family would even take away from it.

The whole movie is about Cobb's catharsis, and being able to let go of the guilt he feels for leaving his kids and causing the death of his wife. Just like Crazy asked: "It's like, you realize she's not real right? You realize your subconscious is creating her dialogue right?" that's the whole point. He is so attached to her projection that he has been thinking of her like a real person. He's f'cked in the head, because of what happened to them, and his subconscious keeps working to 'drag him back into limbo' (to get him stuck on the concept of his wife and kids, so he won't leave them for the real world). He even expresses to Ariadne, during the snow mission that he questions whether or not Mal's projection is really her.

His struggle to deal with all of that is the entire movie. It's the basis of the entire story. Take that away, and you have just pretty simple action flick (from, arguably, not the best action director, despite his recent popularity) that's 'cool because it's about lucid dreaming'. But even some of the most compelling parts about the whole dream aspect is how Cobb's subconscious kept f'cking him over, with his family issues, and how elements of his past kept creeping into his present situation.

But, hey, that's just my two cents.

maybe thats why I didn't like the movie that much lol.

Originally Posted by tommo

I wouldn't really say it's just your opinion, it's a fact.
Except for the not a good action movie part, of course.

Haha. Don't get me wrong, I didn't 'not like' the action, but I have a few gripes, and I still think Nolan leaves a lot to be desired, when it comes to shooting action scenes.

Originally Posted by saltyseedog

maybe thats why I didn't like the movie that much lol.

Lmao. Maybe.

Originally Posted by Oneironaut

What's to explain? Everything he basically considered to be pointless and stupid was, actually, the entire point of the movie.

I disagree with that, I think the love story was in there to create some dramatic tension and to give the star someone to brood over, since I doubt Nolan would have been able to effectively pitch this movie to a major studio without giving Leo DiCaprio a love interest.

She played a key role in the movie, sure, but that's not the crux of the film. Christopher Nolan didn't create this highly complex sci-fi thriller to let this simple love story play out (The hero's wife dies and he just can't let her go. How many times have we seen this before?). The focus in on the dreams, and this elaborate heist that is built from the ground up. The strength of the movie lies in the director's ability to create such a complex movie while still making it totally accessible to the average movie goer. The concept of the film is what's interesting, not the love story (for me, I'm talking about my personal opinion).

Maybe I would have enjoyed that aspect a little more if it was executed better. Like I said before, there's too many shots of those damn kids running around, and the relationship between Moll and Cobb is never even fleshed out.

edit:

I wanted the movie to be more like Ocean's Eleven, where the whole focus is on the heist. Do I care about whether or not George Clooney hooks up with Julia Roberts at the end? Not really. But I did enjoy that aspect of the film, because it allowed these awesome scenes to play out between them and their chemistry on film is amazing. If Leo and Mall had more of that chemistry and their characters were allowed to be fleshed out a little more, then not only would the scenes in the flashbacks have been more enjoyable, but her tragic death would have had more of an impact on the audience.

Towards the end of the film it all builds up into this fast-paced action sequence, then it hits the brakes to allow for this overly long scene between Cobb and Mall to play out. It really sucked all the energy out of the climax. We already know what the fuck is gonna happen, Cobb is gonna try to make peace with her, she's gonna cry, Ellen Page is gonna be like, "HEY COBB WE NEED TO LEAVE MAN, THIS IS FUCKIN SERIOUS YOU'RE GONNA DIE OUT HERE" and Leo's gonna blow her off and say some cliched line like, "No, go on without me. I have some unfinished business here" because we already know what he needs to do, because we saw that scene with the 90 year old Asian dude at the very beginning of the fuckin movie.

Just one more reason why I disliked how the love sub plot tried to upstage the action at the end: It really isolated the rest of the team. Too much focus is put on Cobb the whole movie, whereas it would've been better if it took another lesson from Ocean's Eleven, and gave each character more of a personality. At the end when they're on the airplane, I kinda likened that to the end scene of Ocean's when they completed the heist and they all stand around the big fountain. Except that I never sensed any kind of bond between the characters, Joseph Gordon Levitt was completely wasted on this movie, as was Ellen Page. That little moment between them when he tricked her into kissing him actually got one of the best crowd reactions when I saw it in theaters. Yet I got the feeling that Nolan was trying to lighten the mood out of obligation, then immediately apologizes for it afterwards and gets back to business. Why is the tone of it so damn melancholy? For fucks sake it's a popcorn movie, let's have some fun with it and not take it so damn seriously, Nolan.



Having said that, I thought it was one of the best movies of 2010 and I thoroughly enjoyed it

The only thing I agree with is that the characters and back stories etc. should have been shown/shown more. But that's entirely the fault of the general public and movie corporations not wanting to show or fund any movie over 2 hours. It could have gone for 2:30 or even 3:00 and been a lot better. Hopefully there is some of that in the directors edition if it ever comes out.

Just watched X-men First Class. Kinda okay I guess but not fully satisfied.

Wanted.

Good movie; I thoroughly loved the narration (and the ending - what a clever line!).

Blade: Trinity. Only watched it for the soft core Jessica Biel porn.

Originally Posted by CRAZY BONE

I disagree with that, I think the love story was in there to create some dramatic tension and to give the star someone to brood over, since I doubt Nolan would have been able to effectively pitch this movie to a major studio without giving Leo DiCaprio a love interest.

She played a key role in the movie, sure, but that's not the crux of the film. Christopher Nolan didn't create this highly complex sci-fi thriller to let this simple love story play out (The hero's wife dies and he just can't let her go. How many times have we seen this before?). The focus in on the dreams, and this elaborate heist that is built from the ground up. The strength of the movie lies in the director's ability to create such a complex movie while still making it totally accessible to the average movie goer. The concept of the film is what's interesting, not the love story (for me, I'm talking about my personal opinion).

Maybe I would have enjoyed that aspect a little more if it was executed better. Like I said before, there's too many shots of those damn kids running around, and the relationship between Moll and Cobb is never even fleshed out.

edit:

I wanted the movie to be more like Ocean's Eleven, where the whole focus is on the heist. Do I care about whether or not George Clooney hooks up with Julia Roberts at the end? Not really. But I did enjoy that aspect of the film, because it allowed these awesome scenes to play out between them and their chemistry on film is amazing. If Leo and Mall had more of that chemistry and their characters were allowed to be fleshed out a little more, then not only would the scenes in the flashbacks have been more enjoyable, but her tragic death would have had more of an impact on the audience.

Towards the end of the film it all builds up into this fast-paced action sequence, then it hits the brakes to allow for this overly long scene between Cobb and Mall to play out. It really sucked all the energy out of the climax. We already know what the fuck is gonna happen, Cobb is gonna try to make peace with her, she's gonna cry, Ellen Page is gonna be like, "HEY COBB WE NEED TO LEAVE MAN, THIS IS FUCKIN SERIOUS YOU'RE GONNA DIE OUT HERE" and Leo's gonna blow her off and say some cliched line like, "No, go on without me. I have some unfinished business here" because we already know what he needs to do, because we saw that scene with the 90 year old Asian dude at the very beginning of the fuckin movie.

Just one more reason why I disliked how the love sub plot tried to upstage the action at the end: It really isolated the rest of the team. Too much focus is put on Cobb the whole movie, whereas it would've been better if it took another lesson from Ocean's Eleven, and gave each character more of a personality. At the end when they're on the airplane, I kinda likened that to the end scene of Ocean's when they completed the heist and they all stand around the big fountain. Except that I never sensed any kind of bond between the characters, Joseph Gordon Levitt was completely wasted on this movie, as was Ellen Page. That little moment between them when he tricked her into kissing him actually got one of the best crowd reactions when I saw it in theaters. Yet I got the feeling that Nolan was trying to lighten the mood out of obligation, then immediately apologizes for it afterwards and gets back to business. Why is the tone of it so damn melancholy? For fucks sake it's a popcorn movie, let's have some fun with it and not take it so damn seriously, Nolan.



Having said that, I thought it was one of the best movies of 2010 and I thoroughly enjoyed it

I don't know why these action movies try so hard to have a story. Braveheart should have been more like Matrix Reloaded.

Last movie I watched was Clash of the Titans from 1981. Mostly I listened it while drawing, but got my eyes to screen in the key scenes. Special effects were better than nowdays digital perfection. I'm sure most won't agree with this. Way back they used more imagination to make the impossible live. Calibos was scarier than digitally made demons nowdays. Transformation of Calibos to the monster he appears in film was dreamlike 'cause it was made by animating his shadow. Kraken was original though tricklines made it a little embarassing. Liked also the Pegasus, cause flight isn't easy thing to do without digital manipulation.

There were lots of dreamisque subplots and scenarios. Scenarios of Perseus and Ammon are best of these. There is also one where Andromedas dreambody leaves her sleeping body while Perseus is watching. (Then comes the Giant Vulture and cage)

Next I'm going to watch modern version of the movie and some more mythological movies.

Inception, it was awesome except for the sappy love story underlining the whole narrative.

I didn't like the way the love story was portrayed. If they really spent eternity in abyss, there is no saying that Leonardos character had really reached ultimate reliety. After I got out this movie, I was hoping that it would have circeled around female leads character. Secrets she had dug up while in abyss. Like her reaching Leonardos obsessive world, playing by rules of his mind to free him. She was so nice and crazy.

Both leads could also have come from outside that film reality level to infiltrate lesser dream. Whole traumatic relationship thing could have been con they played to work the heist.

But then again, some peoples have taken interest in LD after this that hadn't done it even if some friend had told them about it.

Right on labyrint! Harryhausen and good old fashioned stopmotion FTW!!!

Even keeping the technical issues aside, there's just something magical about the very way Ray Harryhausen approached his subject matter. It wasn't meant to be physically terrifying and powerful like a video game creature, but to be dreamlike and mysterious, to evoke a sense of palpable wonder that's ironically all but missing in today's blockbuster movies, though the technology makes bringing incredible creatures to life so much easier now.

Originally Posted by Omnis Dei

I don't know why these action movies try so hard to have a story. Braveheart should have been more like Matrix Reloaded.

No romantic subplot ≠ no story