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  #46  
Old 08-26-2019, 02:45 AM
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Jondalar Jondalar is offline
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24. The Peanut Butter Falcon, grade B- = basically itís about a road trip between a young man with Downs Syndrome and a a very poor fisherman. Itís bittersweet and nice. I think the unusual location really added to this movies. The movie is nice but a bit boring. I bet the man with Down Syndrome gets nominated for an Oscar.
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  #47  
Old 09-11-2019, 10:59 PM
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25. IT 2, grade B = not as good as the first one, because itís way too long and the beginning scenes donít make sense even though matches the book. Also the ending isnít that much different from the first movie. However, there are lots of gorey special effects that are done well and as a horror movie itís creepy. Really wish it wasnít so long though. The book was over 1000 pages though.
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  #48  
Old 09-12-2019, 06:47 PM
Feather Blade Feather Blade is offline
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25. IT 2, grade B = not as good as the first one, because itís way too long and the beginning scenes donít make sense even though matches the book. Also the ending isnít that much different from the first movie. However, there are lots of gorey special effects that are done well and as a horror movie itís creepy. Really wish it wasnít so long though. The book was over 1000 pages though.
King has said he was hitting the cocaine pretty hard during the writing of that one and a lot of it doesn't even make sense to him. (Maybe that explains turtle gods and children's orgies)
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  #49  
Old 09-14-2019, 02:46 PM
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King has said he was hitting the cocaine pretty hard during the writing of that one and a lot of it doesn't even make sense to him. (Maybe that explains turtle gods and children's orgies)
I quit reading him and Anne Rice. Theyíve both lost their touch in my opinion.
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  #50  
Old 09-26-2019, 07:43 AM
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TATTOO OF REVENGE by Julian Hernandez https://itunes.apple.com/us/movie/ta...e/id1479277556
Grade: A


Although the most visually sophisticated and spiritually inquiring exploration of image-making since Brian De Palma’s FEMME FATALE, two lines of dialogue express the radical compassion and unexpected social scope of JuliŠn HernŠndez’s TATTOO OF REVENGE:

“Stupidity knows no limits.”

“You’ll get tired of not trusting people.”

One photographer (gorgeous Irving Pena) recognizes the signature style—the vision—of a dead photographer (intense Diana Leon) in a newspaper crime photo. Thus he embarks on an investigation that synchronizes with her own grief. His desire and her agony reflect in the individuals populating the film’s cross-section of Mexico City. The narrative proves as sociologically broad in milieu as exploitative psychic radio shows to exploitative trans porn and as culturally deep in references as classical opera to classic Mexican cinema.

Hernandez always enthralls with formal daring and even playfulness (here: classic-TV aspect ratio, black-and-white “realism” combined with color tv screens and intercut with color flashbacks, and his magisterial existential tracking shots). And, of course, gay sensuality draws out capacity for physical expression and connection. Now, through cross-cutting, Hernandez achieves both expansive power and poetic poignancy, as when seemingly unconnected characters simultaneously linger over how Leon’s Aida haunts their consciousness.

No wonder. In her own quest to brand/tattoo unpunished rapists, Aida’s androgynous femme fatale slips unnervingly into character to expose the hidden motivations of victims, clients and compatriots. Leon is spectacular, as in her opening scene of hilarious seduction or when with maternal sternness she reveals the lies of a spoiled young woman who seeks revenge, not justice. Aida’s own spiritual tattoo of bitterness will be transformed by the capacity of others to surprise her by their heroism and their love and their own daring mastery of image-making as political and personal statement.

TATTOO OF REVENGE should be heralded as the epic of the #MeToo era, but its humane and necessary balancing of the culture’s “limitless stupidity” with fundamental need for trust, here made unabashedly romantic, makes it as unfashionable as it is essential.
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Last edited by TrueFaith77; 09-26-2019 at 08:44 AM..
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  #51  
Old 09-26-2019, 08:38 AM
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THE GOLDFINCH
Grade: C-


Through twists of Dickensian fate and sentiment, John Crowley sneakily reduces terrorist attacks to “some people did something” with THE GOLDFINCH

Survivor’s guilt remains (the plot-twist switcharoo on “It was all my fault”).

And bourgeois fortune favors the guilt-ridden.

The Nevada section, the Dickensian rock bottom, bookended by New Order’s “Your Silent Face” and Them’s cover of Dylan’s “It’s All Over Now, Baby Blue,” is the best part of the film. Yet it, too, plays an insidious bait-and-switch. It teases adolescent same-sex sympathy as attraction, only to later be revealed as betrayal (and guilt heaped upon guilt). In this way, it accidentally exposes the perverse appeal of the vile IT films.

As with Crowley’s subtly anti-Catholic BROOKLYN, THE GOLDFINCH is gorgeously mounted (Deakins!), the cast is excellent (Nicole Kidman has never looked more beautiful), and the time-jumping narrative moves fluidly.

It would be dangerous stuff if anyone cared, which, as with the far more satisfying BROOKLYN, nobody will.
__________________
"They love each other so much, they think they hate each other."

Imagine paying $1000 to hear "Don't Dream It's Over" instead of "Go Your Own Way"

Fleetwood Mac helped me through a time of heartbreak. 12 years later, they broke my heart.

Last edited by TrueFaith77; 09-26-2019 at 08:46 AM..
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  #52  
Old 09-29-2019, 07:54 PM
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Originally Posted by TrueFaith77 View Post
THE GOLDFINCH
Grade: C-


Through twists of Dickensian fate and sentiment, John Crowley sneakily reduces terrorist attacks to ďsome people did somethingĒ with THE GOLDFINCH

Survivorís guilt remains (the plot-twist switcharoo on ďIt was all my faultĒ).

And bourgeois fortune favors the guilt-ridden.

The Nevada section, the Dickensian rock bottom, bookended by New Orderís ďYour Silent FaceĒ and Themís cover of Dylanís ďItís All Over Now, Baby Blue,Ē is the best part of the film. Yet it, too, plays an insidious bait-and-switch. It teases adolescent same-sex sympathy as attraction, only to later be revealed as betrayal (and guilt heaped upon guilt). In this way, it accidentally exposes the perverse appeal of the vile IT films.

As with Crowleyís subtly anti-Catholic BROOKLYN, THE GOLDFINCH is gorgeously mounted (Deakins!), the cast is excellent (Nicole Kidman has never looked more beautiful), and the time-jumping narrative moves fluidly.

It would be dangerous stuff if anyone cared, which, as with the far more satisfying BROOKLYN, nobody will.
I couldnít finish the book. The way it was written bothered me.
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  #53  
Old 09-29-2019, 07:58 PM
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26. Judy, grade B+ = good film, very solid and well edited. Rene Zellweiger gives a great performance. However, this is a slice of life movie. There really isnít a plot, so it can be boring at times, but her performance pulls it through.
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  #54  
Old 10-06-2019, 05:17 PM
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27. Joker, grade A - = Joker is not fun to watch. Itís basically a movie about mental illness. However, It is a thoughtful origin story that ties in with Batmanís origin. The movie is done very well and Jaqueen Pheonix probably deserves an Oscar. He gives a great performance. I would see this one if you want a different type of superhero movie.
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