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Movie opinions thread (what have you seen, what did you think?)
- Thread starter aria
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Boring compared to The Wrath of Khan 
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4 is my second favorite behind 2 being obvious first choice.
If you happen to like 4 then Time After Time (1979) also by Nicholas Meyer (who wrote 2, 4, and 6) is also worth watching.
He also did a classic Sherlock novel (and screenplay adaptation) called The Seven Percent Solution.
If you happen to like 4 then Time After Time (1979) also by Nicholas Meyer (who wrote 2, 4, and 6) is also worth watching.
He also did a classic Sherlock novel (and screenplay adaptation) called The Seven Percent Solution.
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Be honest with yourselves. 2 and 6 are good, 3 is okay, 4 is dumb, 1 and 5 are terrible.
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Watching it right now, surprised by her solid rack actually
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Until they were crushed to death by her at a later time.
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Yeah, facts right here.
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I'd rather be crushed to death by fat Kirstie Alley than one of your malfunctioning garage doors.
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Netflix Wins the Warner Bros. Discovery Bidding War With $82.7 Billion Offer, Enters Exclusive Deal Talks
Warner Bros. Discovery has selected Netflix after the streaming giant offered $30 a share for the studio and streaming assets.
www.thewrap.com
Looks like Netflix will get Warner Bros, or at least the movie/TV/streaming studios and all the intellectual properties.
This means that the TV networks themselves and the video game studios will all likely be sold off separately.
Hopefully Atari can at least buy back the old Atari Games/Williams/Midway/Bally library. They probably can't afford all of WB Interactive but the legacy IPs that came out of the original 1984 Atari/Atari Games split would be cool to see back under one roof.
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Hawk the Slayer-A film that is a lot better than you remember it because of all the little things it does so well but, if we're being honest, is still a little undercooked in too many important spots to be considered truly 'great'. At its core, it's a boiler plate fantasy adventure about revenge and on the surface isn't very well shot, has hokey sound design, substandard action, laughable effects and uneven performances by the film's two leads: John Terry is practically dead as title character Hawk and Jack Palance devouring scenery as his brother and the film's heavy Voltan neither balance or cancel each other out but there are so many little parts to this flick that elevate it above the hokey schlock of the day (in my opinion.)
Probably the most remarkable things about the movie are the acting (pretty stellar across the board except the film's two main characters) and the grit of world itself, including the costume design in many cases. The dialogue is super smart at points, witty and clever in its banter and delivered with expert grace by much of the secondary cast and the bit characters that are on screen merely to serve as foils to the more central players. Some of the dialogue in these scenes bordered on Game of Thrones tier repartee when that show was at its sardonic best. When I was a kid and I watched this, I couldn't appreciate just how grounded and expertly written these small exchanges were but as an adult, seeing it with much older eyes, it's plain to me that there are some fantastic exchanges going on. i could watch an entire 'slice of life' movie in this world if all of its inhabitants talked like this.
Some of the supporting cast are absolutely stellar. Peter O'Farrell understands his assignment as the wisecracking dwarf Baldin, who doesn't really do much more than makle jokes and trick people before sacrificing himself to buy the rest of the heroes a little more time. He's funny and comes off as someone that survives more because he's the smartest guy in the room than because of any rugged qualities, and his interplay with the giant Gort (fantastically brought to life by Bernard Bresslaw) is so much fun to watch. Bresslaw has most of the best scenes in the film and he carries every moment he's in. The one handed soldier Ranulf, played by William Morgan Sheppard, feels like the most 'real' character in the movie and he delivers most of his lines with such gravity that I found myself legitimately believing in him. Even Ray Charleson's monotone elf Crow, who seemed so bad to me when I first saw it, is....well, okay it's still bad. But I think he did a good job, at least, of making himself distinct from the rest of the cast. Regardless of what you think about the performance, it's still memorable and unique from the rest of the group. Not sure what he was going for here but it doesn't break my immersion the way it used to. And the subplot with the nun that actually believes Voltan will make good on his promise to return the mother superior character to the convent after the ransom is paid is very well seeded throughout the movie and a believable plot twist when her betrayal plays out.
This film is something I'd consider a 'near miss'. It was this close to being respectable and I can't help but think that with a little more money, a little more time. a little better direction of its leads and a little bit of a helping hand on the production, it could have been up there with the true giants of 80s fantasy films, Conan the Barbarian, Excalibur and Dragonslayer. As it is, Hawk the Slayer has to settle for being in the upper B tier of the genre. Which, considering how much barbarian slop came out in the 80s, isn't he worst place to be.
3 out of 5. It does enough of the little things very well and kept me engaged this time around.
Probably the most remarkable things about the movie are the acting (pretty stellar across the board except the film's two main characters) and the grit of world itself, including the costume design in many cases. The dialogue is super smart at points, witty and clever in its banter and delivered with expert grace by much of the secondary cast and the bit characters that are on screen merely to serve as foils to the more central players. Some of the dialogue in these scenes bordered on Game of Thrones tier repartee when that show was at its sardonic best. When I was a kid and I watched this, I couldn't appreciate just how grounded and expertly written these small exchanges were but as an adult, seeing it with much older eyes, it's plain to me that there are some fantastic exchanges going on. i could watch an entire 'slice of life' movie in this world if all of its inhabitants talked like this.
Some of the supporting cast are absolutely stellar. Peter O'Farrell understands his assignment as the wisecracking dwarf Baldin, who doesn't really do much more than makle jokes and trick people before sacrificing himself to buy the rest of the heroes a little more time. He's funny and comes off as someone that survives more because he's the smartest guy in the room than because of any rugged qualities, and his interplay with the giant Gort (fantastically brought to life by Bernard Bresslaw) is so much fun to watch. Bresslaw has most of the best scenes in the film and he carries every moment he's in. The one handed soldier Ranulf, played by William Morgan Sheppard, feels like the most 'real' character in the movie and he delivers most of his lines with such gravity that I found myself legitimately believing in him. Even Ray Charleson's monotone elf Crow, who seemed so bad to me when I first saw it, is....well, okay it's still bad. But I think he did a good job, at least, of making himself distinct from the rest of the cast. Regardless of what you think about the performance, it's still memorable and unique from the rest of the group. Not sure what he was going for here but it doesn't break my immersion the way it used to. And the subplot with the nun that actually believes Voltan will make good on his promise to return the mother superior character to the convent after the ransom is paid is very well seeded throughout the movie and a believable plot twist when her betrayal plays out.
This film is something I'd consider a 'near miss'. It was this close to being respectable and I can't help but think that with a little more money, a little more time. a little better direction of its leads and a little bit of a helping hand on the production, it could have been up there with the true giants of 80s fantasy films, Conan the Barbarian, Excalibur and Dragonslayer. As it is, Hawk the Slayer has to settle for being in the upper B tier of the genre. Which, considering how much barbarian slop came out in the 80s, isn't he worst place to be.
3 out of 5. It does enough of the little things very well and kept me engaged this time around.
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Looks like Netflix is gonna take WB Interactive alongside the TV/movie/streaming studios and DC Comics after all.
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FTFY
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Stone wasn’t in Star Trek. If we’re just picking 80’s babes I’d probably go with Sherilyn Fenn.
The Uninvited- A light horror haunted house mystery from 1944. Often considered the first “modern” horror movie, though I don’t agree with that. It was definitely influential though.
A brother and sister visiting the English countryside stumble upon an abandoned cliff side mansion. They decide rather quickly to buy it and move in despite rumors that it is haunted. The brother starts up a relationship with the granddaughter of the owner who seems to somehow be connected to the haunting.
It’s pretty basic and predictable by today’s standards but that’s because it’s essentially the template that haunted house movies would follow for the next several decades.
Some nice cinematography, witty rapid fire dialogue and an engaging mystery help it stand the test of time. The highlight of the film is probably the seance scene. Worth a watch if you’re a fan of classic cinema.
The Uninvited- A light horror haunted house mystery from 1944. Often considered the first “modern” horror movie, though I don’t agree with that. It was definitely influential though.
A brother and sister visiting the English countryside stumble upon an abandoned cliff side mansion. They decide rather quickly to buy it and move in despite rumors that it is haunted. The brother starts up a relationship with the granddaughter of the owner who seems to somehow be connected to the haunting.
It’s pretty basic and predictable by today’s standards but that’s because it’s essentially the template that haunted house movies would follow for the next several decades.
Some nice cinematography, witty rapid fire dialogue and an engaging mystery help it stand the test of time. The highlight of the film is probably the seance scene. Worth a watch if you’re a fan of classic cinema.
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Demons- Hard rocking 80’s Italian demonic extravaganza courtesy of Lamberto Bava. One of the most batshit crazy Italian horror movies ever made. Copious amounts of gore and goo, a kick ass soundtrack and absolutely zero logic behind any of it. But who needs logic when you’ve got a guy riding around a movie theater on a motorcycle decapitating demons with a samurai sword while Motley Cru blasts.
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Krull-this movie is terrible.
Bad pacing, a James Horner score that overwhelms you with its bombast and obnoxiousness, a thoroughly unimpressive lead, laughable enemy and armor design, a series of quests that are introduced and then paid off within minutes that somehow feel like hours and padded length that turns what should have been a dazzling spectacle into tedium and a wizard so annoying that his comic moments are laughable for all the wrong reasons.
The only good things I can say about the movie are the scene between Freedie Jones' Ynyr and Franchesca Annis' Widow of the Web, which is a nice bit of acting informing the audience of a backstory that is so complicated that it should have just been its own movie and Lysette Anthony as Princess Lyssa. Not because the girl is a good actress or carries even a single one of the scenes she's in but because she is so beautiful that it's almost haunting. The scene with Bernard Bresslaw's cyclops defying his foretold death is, perhaps, the most poignant part of the movie and the one truly heroic sacrifice to be found in this entire story.
The rest of the characters are disposable fodder, although the scene where Colwyn and co. encounter Torquil (Alun Armstrong, as criminally wasted as nearly everyone else in this cast) and his gang of escaped criminals (most are eventual fodder) is charming for a few minutes. Robbie Coltrane and Liam Neeson turn in utterly forgettable performances here, not because they're bad but because they are, even in their younger and more untested days, simply not given enough to work with. The same could be said for most of the cast, in fact.
The film is desperately starved for action beats, as most if its running length is spent with the characters travelling from place to place, walking across admittedly stunning vistas and doing little else. Every frame in this movie is a portrait but that simply isn't enough to save what is ostensibly an adventure story. Even during these quieter moment, Horner's score drowns you in its crescendo to the point where you'd rather watch it muted just to get a moment's peace and quiet. And when the action DOES come, it's cringeworthy. Krull is more interested in its ideas than its execution, which is fine if you're making The Green Knight. But Krull wants to be a rousing rescue story and a series of dark tragedies all at the same time. You gotta pick a lane, not all of them and none of them at the same time.
Skip it. It's as bad as you remember.
1 out of 5 stars.
Bad pacing, a James Horner score that overwhelms you with its bombast and obnoxiousness, a thoroughly unimpressive lead, laughable enemy and armor design, a series of quests that are introduced and then paid off within minutes that somehow feel like hours and padded length that turns what should have been a dazzling spectacle into tedium and a wizard so annoying that his comic moments are laughable for all the wrong reasons.
The only good things I can say about the movie are the scene between Freedie Jones' Ynyr and Franchesca Annis' Widow of the Web, which is a nice bit of acting informing the audience of a backstory that is so complicated that it should have just been its own movie and Lysette Anthony as Princess Lyssa. Not because the girl is a good actress or carries even a single one of the scenes she's in but because she is so beautiful that it's almost haunting. The scene with Bernard Bresslaw's cyclops defying his foretold death is, perhaps, the most poignant part of the movie and the one truly heroic sacrifice to be found in this entire story.
The rest of the characters are disposable fodder, although the scene where Colwyn and co. encounter Torquil (Alun Armstrong, as criminally wasted as nearly everyone else in this cast) and his gang of escaped criminals (most are eventual fodder) is charming for a few minutes. Robbie Coltrane and Liam Neeson turn in utterly forgettable performances here, not because they're bad but because they are, even in their younger and more untested days, simply not given enough to work with. The same could be said for most of the cast, in fact.
The film is desperately starved for action beats, as most if its running length is spent with the characters travelling from place to place, walking across admittedly stunning vistas and doing little else. Every frame in this movie is a portrait but that simply isn't enough to save what is ostensibly an adventure story. Even during these quieter moment, Horner's score drowns you in its crescendo to the point where you'd rather watch it muted just to get a moment's peace and quiet. And when the action DOES come, it's cringeworthy. Krull is more interested in its ideas than its execution, which is fine if you're making The Green Knight. But Krull wants to be a rousing rescue story and a series of dark tragedies all at the same time. You gotta pick a lane, not all of them and none of them at the same time.
Skip it. It's as bad as you remember.
1 out of 5 stars.
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Paramount is attempting a hostile takeover of Warner Bros Discovery, trying to undercut Netflix.
Trump's son-in-law is involved in their bid so there's a pretty reasonable chance it happens.
Trump's son-in-law is involved in their bid so there's a pretty reasonable chance it happens.
