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kerraig UK

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  1. Yeah you're right, CGI itself isn't inherently bad. Its just how its deployed to make things bigger. The car chase at the start of this Terminator has more flipped cars, quicker cuts and upped carnage from the viaduct chase in T2, but it is no more exciting because the stakes dont feel high and the geography isn't well established. This car chase from 1978's The Driver is vastly more exciting because it feels real, hefty and dangerous.
  2. This felt more like a sequel to Near Dark than The Shining. It had a few cool moments. But on the whole it was just a pointless exercise. I just don't understand why you'd bother with a sequel when the script is inferior to a million other films out there already. This is nowhere near as interesting as Near Dark. so whats the point? I know they're not popular here. But we did a podcast episode talking about it
  3. Thats the opposite of the answer. The answer is to go back to basics and make a really tight, intimate and intense nihilistic chase film where there is no hope, its all set in dark desolate night, and the thing pursuing them cannot be stopped. And no CGI. The original Terminator has more in common with It Follows or Ringu than with Hollywood blockbusters. Terminator 2 upped the action and included some sunlight and gags, but the sense of hopelessness and ruthlessness remained.
  4. Skin (2018) https://www.imdb.com/title/tt6043142/ Billy Elliot plays the toughest of a family of redneck neo nazis who is having second thoughts about his commitment to the family. Pretty by the numbers,but elevated by a great central performance from Jamie Bell and some wonderfully down n dirty photography. You know exactly what you're gonna get, but it takes it up a notch in the third act and the fact that it's a true story packs a punch.America has real problems. Animal Kingdom is a better take on similar themes 6/10 Straight Time (1978) https://www.imdb.com/title/tt0078326/?ref_=fn_al_tt_1 Been meaning to watch this for years. Dustin Hoffman plays a petty con trying to go straight in LA, get a job and meet a girl. But his parole officer, the system and his own pig headed temper and repressed rage won't let him. Absolutely blistering performance from Hoffman in its understated trying to keep a lid on things internalising. It's almost the polar opposite of what Al Pacino would do with the role. And its all the more intense for it. Amazing back up from Gary Busey, Harry Dean Stanton and the impossibly beautiful Theresa Russell. Screaming Joe Sangre if you haven't seen it you'd love this. Feels very Tarantino esque and the ending was clearly an influence on Michael Mann's Heat. Highly recommended. 7.5/10 Score ratings: 10 - Masterpiece (Apocalypse Now, In the Mood for Love) 9 - The best in it's genre (The Matrix, The Big Lebowski) 8 - Excellent film making that excels in all departments (Wolf of Wall Street, Whiplash) 7 - A good film (The Departed, The Avengers) 6 - Enjoyable. Has its merits (Flatliners, Fast & The Furious) 5 - Distinctly average (John Grisham films, Days of Thunder) 4 - Should have been better (The Hangover, Oceans 12) 3 - Not good (Adam Sandler movies that aren't Happy Gilmore) 2 - The worst of their genre (Transformers franchise) 1 - No redeeming value at all (Sex & The City 2)
  5. The Outfit (1973) is a brilliant heist thriller. It's clearly a huge influence on tarantino and films like true romance. Robert Duvall plays a thief who gets out of prison to find out his brother has been killed by 'the outfit', a gambling syndicate in California. So bit by bit he hits all their operations as he works his way up to Mr big. Pretty much the most generic storyline ever. But Robert Duvall and Joe Don Baker are a magnetic duo and the litany of colourful characters and daring escapes combined with all the tough guy dialogue and frankly constant violence make it super enjoyable. I love these old films where the main character is a total heartless bastard. His girlfriend gets blasted in the face and he doesn't even bat an eyelid, so hell bent on revenge is he. Cracking prototype for all the 90s tough guy films. Loved it. https://youtu.be/YBLuiXCGF6A 7.5/10
  6. The Exterminating Angel (1968) Dir: Lui Bunuel https://www.imdb.com/title/tt0056732/… Deliciously absurd satire about a bunch of upper class dinner party guests who for an undisclosed reason are simply unable to leave the party. What starts as a joke turns into a mystery, and then a nightmare as the guests begin to turn on each other. I loved this. No explanations or reason are given to the ever increasing insanity, which features autonomous severed hands, purses filled with chickens feet and random encounters with bears. A mischievous and ultimately pointless reverie. But great fun. 7.5/10 Border (2018) Dir: Ali Abbassi https://www.imdb.com/title/tt5501104/… Truly unique tale of a border guard who can smell criminal activity on people passing through her checkpoint, who one day meets someone whose smell confuses and captivates her. What begins as a fascination begins to unravel clues of her unusual upbringing as well as having ties to, of all things, a local paedophile ring. Really didn't know what to make of this. Always engaging, surprisingly affecting, but just so damn strange. Looks as gorgeous as all Scandinavian films do and wonderful performances. But fuck man, weird! 6.5
  7. Under the Silver Lake https://www.imdb.com/title/tt5691670/?ref_=tttr_tr_tt David Robert Mitchells follow up to the stunning It Follows is a bizarre Fever Dream set amongst the LA hedonism set. Its a loose murder mystery that is half Rear Window half After Hours. Heightened direction and enigmatic performances combined with a woozy and unstructured plot lends it an air of mystery and fascination. Crammed with excellent scenes and vignettes its a shame that upon conclusion it amounts to so little. Still, A director to watch. 6/10 A Stand Up Guy https://www.imdb.com/title/tt4060962/goofs/… Not sure how this ended up on my watchlist. One to avoid. Male wank fantasy about a New York hoodlum who is in witness protection but then becomes a stand up comedian in the small town he's relocated to. Painfully unfunny, perfunctory direction and one of the worst Al Pacino rip off performances in history. Avoid 3/10
  8. TULLY Charlize Theron plays a tired mother of three who forms a touching bond with her 'night nanny', a sort of sexually charged and kooky Mary Poppins. Great performances all round and very touching. Doesn't go to the places you expect. Solid. And makes you realise as a working bloke that you have no idea what being a stay at home mum is really life. 6.5 THE YELLOW SEA https://www.imdb.com/title/tt1230385/ Hong Jin Na's follow up to the relentless THE CHASER is another weird cocktail. Gritty street level hustle movie about a down on his luck Korean guy struggling to pay his debts in China. Hired to kill a Chinese businessman he gets embroiled in a conspiracy between three parties. Korean cinema is always worth showing up for. Stylish thrillers with plenty of action and great characters, set amongst stunning scenery. This one has plenty to like. Seeing the smuggling operation in getting into Korea from China, and watching as our hero methodically works out how he's going to carry out the murder (which inevitably doesn't go to plan) is all awesome stuff. However when we get to the chase, which takes up the whole second half of the film, the gear change is so bizarre it took me a while to adjust. Same with The Chaser, the gritty realism of the plot and characters jars with the utterly insane action, as fights with hatchets, blades and clubs see people stabbed again and again and again and carry on running, kicking, jumping, stabbing and getting hit with cars. It's a film of two halves, but never less than entertaining. Not as successful as Seong-hum Kim's superlative A HARD DAY or OLD BOY. But then, what is? 6.5
  9. LET THE CORPSES TAN Fucking. Loved. This! Like if Ken Russel directed a Tarantino script. The third feature from Belgian visual stylists and genre twisters CATTET & FORZANI is a psychosexual western that's like a mashup of Jodoroski's EL TOPO, Tarsem Singh's underrated THE FALL and a James Bond opening sequence. Narrative is both loose and tight simultaneously in the same brilliant way their debut film AMER was. The set up is simple, a truck has been robbed of some gold bullion and the gangsters are hiding out with a friend up in the mountains. A routine police check turns bloody and so begins a real time shoot out where alliances are formed, betrayals are plotted, jealousy leads to violence and new gods are born! The genius comes not only in the utterly stunning visuals and sound (I mean really, it's absolutely gorgeous) but also in a couple of crafty devices the directors employ. The action plays out from several angles and at different times. So we may wind back 20 mins to see something play from another characters perspective. Or we may run forward and see glimpses of things that soon will pass. This keeps us on our toes, but also allows us to feel satisfaction as we do the work in piecing it all together. The other brilliant trick it pulls is in turning the Gold bullion itself into a metaphorical character, wandering through the carnage, whispering in men's ears (and pissing on their faces), tapping into their greed in order to do her bidding (destroy themselves basically). it's a wonderful comment on our obsession with money. Especially when one character, who has been getting the better of them all, prays to St Mary to help him through the night and then is promptly killed seconds later (God is no match for Gold) It feels fast and loose with its editing but is actually mind bogglingly tight and controlled. Stunning film making. 7.5
  10. MONOS https://www.imdb.com/title/tt6062774/ One week and IRISHMAN is no longer my film of the year! The floor of a cinema is not a particularly sterile place. So having my jaw lay there for two hours, tongue rolled out like Jim Carrey in The Mask meant needing to buy some mouthwash on the way home. South America are absolutely killing the game and have been for about twenty years now (remember CITY OF GOD and Y TU MAMA TAMBIEN) This time it's Colombias turn to give you thrills and chills with it's perfect blend of other-wordly landscapes, captivatingly dangerous scenarios and characters that drip with intensity, performed by actors you cannot take your eyes off. Essentially it's Lord of the Flies in Spanish, as a young paramilitary troupe guarding an American hostage go slowly insane. But the way it is shot, with Werner Herzog levels of commitment to reality (I thought for sure one of the actors must have died during the river rapids sequence) and the brilliant script keeps you on your toes and on the edge of your seat. It's definitely one for the big screen. It's stunning. 8.5
  11. Been working my way through my watchlist of films I've always been meaning to watch but for whatever reason kept putting off. Reviews incoming! THE DRIVER https://www.imdb.com/title/tt0077474/ After chatting car chases in the Terminator podcast I realised this was on my list. I saw it late on TV in my teens and have never revisited it. Known primarily these days as the influence for the Seminal DRIVE starring another clam and observing Ryan. Also the videogame series Driver, which began by simulating the truly excellent underground car park sequence. Directed by Walter Hill (The Warriors) in his period of all cylinder firing. It is a punchy and exciting chase movie with a determined cop willing to try any dirty trick to catch the titular DRIVER. Some of its tropes are so worn in now that it feels a little creaky today, but Ryan O Neill carries things with his bemused half smirk stare. There are 2 big car chases in this movie, and I feel like I want to do a podcast to break the second one down. It cannot be overstated how much it holds up today. How exhilarating, well structured and beautifully executed it is. It might even eclipse Ronin as best car chase ever for me. I thought going back to it in this world of fast cuts and cars flipping and exploding that it might feel tired, but it felt heavier than ever. Knowing that everything you're seeing is being done by human drivers lends it a sweaty creedence. And the end rug pull is just a fantastic coda for a fantastic film. Any fan of Fast & The Furious should watch where it all began 7
  12. I bought this after hearing it was a return to the methodical play of the original MW. Which it is, refreshingly. However, I'm already bored and it's still an arena shooter with basic mechanics, bad spawns and ho hum level design. Compared to the incredible new map pack of BFV it just seems so dated. I did a podcast talking about the experience of playing both. Pretty short.
  13. I definitely think there's a feedback loop with film like there is with the Daily Mail. Mail printed hate that conditioned their readers into a confirmation bias of wanting hate in their paper. The Mail now has to keep printing it or lose customers. Same with CGI fest franchises. The audience are conditioned now to expect that from their cinema experience so only go and see that. Joker was a refreshing change of pace.
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