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Not gonna lie, when I first read that, thought that was referring to the latest Will Ferrell/John C. Riley film.

Fried brains.
 

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THE EXTREME HORSEMEN
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:lmao Oh my God. I just watched the video. This is the best thing I've ever seen.

Give me Vin fighting Idris with a hand sharks on both hands STAT.
 

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@Bubz ;

To concur in passing, yep, Colossal was one of the worst things. Unbearable.

Blindspotting was good, not a game-changer, but good & Ingrid Goes West I really liked, though, on the upside. As I'm wanting to make the rounds on all the stuff I've been missing the past few years.
 

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Ramble On
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I did like Blindspotting. I don't remember much about it now but I remember thinking the humour was mostly great as well as the buddy relationship. The big scene towards the end in the cops house sounds awful on paper but it was really effectively done in execution.

I did get Climax to watch finally. Pretty hyped.

Oh my god the new Refn show is apparantly like 10 new NWR movies because each episode is an hour and a half and not made for binge watching according to Cliff Martinez :mark:
 

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I did like Blindspotting. I don't remember much about it now but I remember thinking the humour was mostly great as well as the buddy relationship. The big scene towards the end in the cops house sounds awful on paper but it was really effectively done in execution.

I did get Climax to watch finally. Pretty hyped.

Oh my god the new Refn show is apparantly like 10 new NWR movies because each episode is an hour and a half and not made for binge watching according to Cliff Martinez :mark:
It reminded me of Clerks in terms of the two leads' relationship. Even the bickering about the ex-girlfriend was very similar. Easy to get behind. Had no idea how the film would end with that. Then it ended up being talk about Oakland Raiders going to Las Vegas and I was soaring. My own related angst as a fan.

Holy cow I have to nab Climax too. That, Mandy, a few others are top priorities that I can't be forgetting about. I checked out Gemini from last year. Never even knew about it and now it's up there as a big favorite. Stellar find; it's got that Refn/Lynch/Lost River vibe about it, while being a Hollywood Noir. You'd probably dig it.

Speaking of Refn, omg this is gonna be the peak of 2019 :mark:
 

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There is no duty we so much underrate as... being
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Poor Raiders fan @Obfuscation;. :sad: They do not even have a home for the upcoming season yet. :sad:

Ingrid Goes West is one of my favorites of the past few years. Saw it entirely alone at the closest theater in Marin County. Wonderful experience. Loved the performances and the icy satire coating everything and everyone. Somehow went precisely where I knew it would, but that was not a problem in the least. It had to "go there."

Just considering this makes me want to revisit it soon.
 

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Ingrid Goes West did feel like it went in anticipatory route, but it was all so well handled, I had zero issues that it did. Plus, the Batman love shown throughout it - And for Batman Forever no less (big yay) - was a strong running theme behind it all.
 

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It's oddly maligned, for sure. Even next to Burton's efforts, it's all within a common distinctly comic scope that's beautiful.

Checked out Soderbergh's High Flying Bird, even with Netflix picking it up I wasn't worried; it's totally his kind of film. The NBA business logic coming in the vein of films like The Informant, The Girlfriend Experience, & Magic Mike; where it's all about getting your worth and the independent contractor. In this case, having to work through MASSIVE corporations/owners for both money & the love of the game. Super good stuff. Feels greater the more I reflect on it. Soderbergh's direction/editing is top notch, opening scene is fabulous. This was the first official film seen for 2019, so off to a nice start.
 

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Definitely looking forward to it. You know with Soderbergh you're getting something interesting. I'm so glad he didn't retire a few years ago when he said he was going to.

I'm gonna check out Velvet Buzzsaw tonight. It's getting quite a negative reaction from what I've seen. Thought it looked pretty fun from the trailer. Plus I'm there for Gyllenhaal being over the top and ridiculous.
 

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Appears he just wanted a bit of a break and TV was there for him to eventually transition back into film. I second this, because he's one of my favorites & now he feels really energized to be pumping out some creative efforts. Still have to see Logan Lucky & Unsane, but he's going for it, and that's great.

I'll probably be watching that later, too. Unsure how I'll take to it, didn't like Nightcrawler in any capacity, but maybe this could be fine. All about how it can play on the "artist talking about art as a critique on art" mantra. The trailer is kind of lowkey Neon Demon-ish, so that's soothing. Hope it translates within the film.
 

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Ramble On
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Logan Lucky is a great time.

Velvet Buzzsaw was corny, ridiculous and maybe pretentious, but man I really liked the art world setting and some of the bizarre characters. It almost felt gialo-esque at points. Don't think the horror aspects were effective or the plot that great, but they didn't need to be for me to enjoy it because the fun comes from everything surrounding that and how straight up weird it is. A really odd film. I did get Neon Demon vibes but this is way more satirical and not to be taken very seriously at all, I'd say it's mostly played as very silly and comical as part of its send up of the world it's in.
 

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I just started it now. Hoboman is something I hope returns later on in the film.

Jake's name is "Morf", too.
 

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@Obfuscation what did you think of Velvet Buzzsaw in the end?

I watched Widows which was kind of what I expected only way more dull and lifeless. Pretty much nothing great about this at all.


God damn tags 8*D
 

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There is no duty we so much underrate as... being
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Seeing Nicole Kidman in Batman Forever on opening night in June 1995 was the second important piece of kindling foundation right atop watching The X-Files featuring Gillian Anderson every week for the first igniting of puberty.

@Obfuscation what did you think of Velvet Buzzsaw in the end?

I watched Widows which was kind of what I expected only way more dull and lifeless. Pretty much nothing great about this at all.


God damn tags 8*D
Widows is brimming with silliness. Lots of silliness.

However, it's tremendously acted. This is one of the best ensembles of the year (maybe the best?) and everyone is apparently having some fun or at least relishing as thespians a whole lot of their material, which is often decently-written.

However:

Deeply wish the film had jettisoned the mostly unconvincing "A plot" of the widows' heist and become a meditative drama about the state of Chicago, which is where Steve McQueen seemed to pour his genuine interest. As it stands it feels at once a largely merely "all right" crime thriller uncomfortably wedded to a stunningly truncated Chicago-set season of The Wire or something.

This problem is likely exacerbated by the film's insistence to almost revel in the villainy of many of the male characters. They're generally bastards (except poor Garret Dillahunt, ha, although we barely get to know him at all so who really knows?) but they're so well-realized by the actors that as hyper-jaded 2018 audience members we find ourselves more intrinsically "interested" in them than the women trying to restore and rectify their messed up lives.

It's sad because the film has one or two provocative, authentic concepts (the hair salon backstory, for instance) but too much of it feels compromised by its self-imposed demands to go full steam ahead as a crime thriller.

Unfortunately the project becomes uneven because of the curious lack of "balance," within the aforementioned terrific ensemble, for lack of a better word. The Elizabeth Debicki character emerges as a kind of force (and her arc with the Viola Davis character is probably the strongest through-line among the women) but altogether it's just not enough, and to reiterate the widows' heist feels peculiarly undernourished.

What this film really is, upon reflection, is the anti-The Town. Ben Affleck crafted a solid, engaging 1930s Warner Bros.-style cops-and-robbers melodrama with the kitchen sink--a mad, ostensibly impossible love story and even love triangle (as deleted scenes reveal more transparently on the DVD)--thrown in. It was involving and entertaining. However, loving his city of Boston and wanting to form a sort of commentary concerning the socioeconomics of the titular town, he has a few scenes thrown in to provide some meaningful spice and try to establish that his '30s crime saga, complete with Jeremy Renner putting together an expert latter-day James Cagney sociopath, has resonance. It's arguably noble on Affleck's part but those bits and pieces have always felt shoehorned in and tend to distract at least some from his primary narrative. (Though they are generally so fleeting that it's difficult to become too troubled by their inclusion.) Steve McQueen's film is the opposite. The chief storyline and climactic heist feel oddly halfhearted compared to the remaining items on its menu.
 
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