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  • LeonardPineLeonardPine The Bar on the Beach
    Posts: 3,985
    Sicario: Day Of The Soldado

    Really surprisingly good follow up to the masterful original. A tense action packed affair that is paced supremely well, with some good twists and turns along the way.

    Josh Brolin and Benicio Del Toro are dependably excellent as usual and the young actress Isabela Moner who plays Reyes daughter is incredible.

    Looking forward to seeing this again soon.
  • RevelatorRevelator
    edited September 2018 Posts: 2,896
    Torgeirtrap wrote: »
    I continued with The Killer Elite (1975) this weekend. Much like Peckinpah's 1972 film with Steve McQueen, there's several nice action scenes in this one – featuring James Caan and Robert Duvall. Although Caan and Duvall are always enjoyable to watch, the film itself didn't entertain me as much as The Getaway did, but it wasn't bad.

    The Killer Elite doesn't get much love nowadays. I wouldn't classify it as Peckinpah's best films, but it's a vigorous post-Watergate study in moral corruption and betrayal, and it makes great use of its Bay Area locations (I live in San Francisco, so I'm biased!).

    Peckinpah's most intense critical champion, Pauline Kael, gave the film a rave:
    [The Killer Elite is] a compressed, almost abstract fantasy on the subject of selling yourself yet trying to hang on to a piece of yourself...this film is intensely, claustrophobically exciting, with combat scenes of martial-arts teams photographed in slow motion and then edited in such brief cuts that the fighting is nightmarishly concentrated—almost sublimi­nal. Shot by Phil Lathrop in cold, five-o'clock-shadow green-blue tones, the film is airless—an involuted, corkscrew vision of a tight, modern world.

    Peckinpah was forced to trim The Killer Elite to change its R rating to a PG. Why would anybody want a PG-rated Peckinpah film? The answer is that United Artists, having no confidence in the picture, grabbed the chance to place it in four hundred and thirty-five theatres for the Christmas trade; many of those theatres wouldn't have taken it if it had an R and the kids couldn't go by themselves.

    ...The physical rehabilitation of the hero in The Killer Elite (his refusal to accept the company's decision that he's finished) is an almost childishly transparent disguise for Peckinpah's own determination to show Holly­wood that he's not dead yet—that, despite the tabloid views of him, frail and falling-down drunk, he's got the will to make great movies. He's trying to pick up the pieces of his career. Amazingly, Peckinpah does rehabilitate himself; his technique here is dazzling. In the moments just before violence explodes, Peckinpah's work is at its most subtly theatrical: he savors the feeling of power as he ticks off the seconds before the suppressed rage will take form. When it does, it's often voluptuously horrifying (and that is what has given Peckinpah a dubious reputation—what has made him Bloody Sam), but this time it isn't gory and yet it's more daring than ever. He has never before made the violence itself so surreally, fluidly abstract; several sequences are edited with a magical speed—a new refinement.

    ...In The Killer Elite, James Caan is the hero who acts out Peckinpah's dream of salvation, but it's Gig Young's face that haunts the film. Gig Young represents Peckinpah's idea of what he will become if he doesn't screw them all and sail away...James Caan goes through the athletic motions of heroism and acts intelligently, but he doesn't bring the right presence to the role. His stoicism lacks homicidal undercurrents, and he doesn't have the raw- nerved awareness that seems needed.

    ...Much of what Peckinpah is trying to express in The Killer Elite is probably inaccessible to audiences, his moral judgments being based less on what his characters do than on what they wouldn't stoop to do. (In Hollywood, people take more pride in what they've said no to than in what they've done.) Yet by going so far into his own hostile, edgily funny myth—in being the maimed victim who rises to smite his enemies—he found a ferocious unity, an Old Testament righteousness that connects with the audience in ways his last few pictures didn't. At the beginning of The Killer Elite, the lack of sunlight is repellent; the lividness looks cheap and pulpy—were those four hundred and thirty-five prints processed in a sewer? But by the end a viewer stares fixedly, not quite believing he's seeing what he's seeing: a nightmare ballet. In the free-form murderous finale, with guns, Samurai swords, and lethal skills one has never heard of before, there are troops of Oriental assassins scurrying over the phantom fleet of Second World War ships maintained in Suisun Bay, north of San Francisco. Wrapped up in their cult garb so we can't tell one from another, the darting killers, seen in those slow-motion fast cuts, are exactly like Peckinpah's descriptions of the teeming mediocrities, jackals, hangers-on, and just plain killers that Hollywood is full of.
  • chrisisallchrisisall Brosnan Defender Of The Realm
    edited September 2018 Posts: 17,694
    Revelator wrote: »
    Torgeirtrap wrote: »
    I continued with The Killer Elite (1975) this weekend. Much like Peckinpah's 1972 film with Steve McQueen, there's several nice action scenes in this one – featuring James Caan and Robert Duvall. Although Caan and Duvall are always enjoyable to watch, the film itself didn't entertain me as much as The Getaway did, but it wasn't bad.

    The Killer Elite doesn't get much love nowadays. I wouldn't classify it as Peckinpah's best films, but it's a vigorous post-Watergate study in moral corruption and betrayal, and it makes great use of its Bay Area locations (I live in San Francisco, so I'm biased!).

    Peckinpah's most intense critical champion, Pauline Kael, gave the film a rave:
    [The Killer Elite is] a compressed, almost abstract fantasy on the subject of selling yourself yet trying to hang on to a piece of yourself...this film is intensely, claustrophobically exciting, with combat scenes of martial-arts teams photographed in slow motion and then edited in such brief cuts that the fighting is nightmarishly concentrated—almost sublimi­nal. Shot by Phil Lathrop in cold, five-o'clock-shadow green-blue tones, the film is airless—an involuted, corkscrew vision of a tight, modern world.

    Peckinpah was forced to trim The Killer Elite to change its R rating to a PG. Why would anybody want a PG-rated Peckinpah film? The answer is that United Artists, having no confidence in the picture, grabbed the chance to place it in four hundred and thirty-five theatres for the Christmas trade; many of those theatres wouldn't have taken it if it had an R and the kids couldn't go by themselves.

    ...The physical rehabilitation of the hero in The Killer Elite (his refusal to accept the company's decision that he's finished) is an almost childishly transparent disguise for Peckinpah's own determination to show Holly­wood that he's not dead yet—that, despite the tabloid views of him, frail and falling-down drunk, he's got the will to make great movies. He's trying to pick up the pieces of his career. Amazingly, Peckinpah does rehabilitate himself; his technique here is dazzling. In the moments just before violence explodes, Peckinpah's work is at its most subtly theatrical: he savors the feeling of power as he ticks off the seconds before the suppressed rage will take form. When it does, it's often voluptuously horrifying (and that is what has given Peckinpah a dubious reputation—what has made him Bloody Sam), but this time it isn't gory and yet it's more daring than ever. He has never before made the violence itself so surreally, fluidly abstract; several sequences are edited with a magical speed—a new refinement.

    ...In The Killer Elite, James Caan is the hero who acts out Peckinpah's dream of salvation, but it's Gig Young's face that haunts the film. Gig Young represents Peckinpah's idea of what he will become if he doesn't screw them all and sail away...James Caan goes through the athletic motions of heroism and acts intelligently, but he doesn't bring the right presence to the role. His stoicism lacks homicidal undercurrents, and he doesn't have the raw- nerved awareness that seems needed.

    ...Much of what Peckinpah is trying to express in The Killer Elite is probably inaccessible to audiences, his moral judgments being based less on what his characters do than on what they wouldn't stoop to do. (In Hollywood, people take more pride in what they've said no to than in what they've done.) Yet by going so far into his own hostile, edgily funny myth—in being the maimed victim who rises to smite his enemies—he found a ferocious unity, an Old Testament righteousness that connects with the audience in ways his last few pictures didn't. At the beginning of The Killer Elite, the lack of sunlight is repellent; the lividness looks cheap and pulpy—were those four hundred and thirty-five prints processed in a sewer? But by the end a viewer stares fixedly, not quite believing he's seeing what he's seeing: a nightmare ballet. In the free-form murderous finale, with guns, Samurai swords, and lethal skills one has never heard of before, there are troops of Oriental assassins scurrying over the phantom fleet of Second World War ships maintained in Suisun Bay, north of San Francisco. Wrapped up in their cult garb so we can't tell one from another, the darting killers, seen in those slow-motion fast cuts, are exactly like Peckinpah's descriptions of the teeming mediocrities, jackals, hangers-on, and just plain killers that Hollywood is full of.

    This is a fantastic review. Back in the day I didn't much care for the movie. Not enough hand to hand for me. But NOW I see it as a really good film. It's also interesting to find out it was originally gonna be an R... restrained Peckinpah... who saw that coming? Of course I own it.
  • TorgeirtrapTorgeirtrap
    Posts: 17,335
    Revelator wrote: »
    Torgeirtrap wrote: »
    I continued with The Killer Elite (1975) this weekend. Much like Peckinpah's 1972 film with Steve McQueen, there's several nice action scenes in this one – featuring James Caan and Robert Duvall. Although Caan and Duvall are always enjoyable to watch, the film itself didn't entertain me as much as The Getaway did, but it wasn't bad.

    The Killer Elite doesn't get much love nowadays. I wouldn't classify it as Peckinpah's best films, but it's a vigorous post-Watergate study in moral corruption and betrayal, and it makes great use of its Bay Area locations (I live in San Francisco, so I'm biased!).

    Peckinpah's most intense critical champion, Pauline Kael, gave the film a rave:
    [The Killer Elite is] a compressed, almost abstract fantasy on the subject of selling yourself yet trying to hang on to a piece of yourself...this film is intensely, claustrophobically exciting, with combat scenes of martial-arts teams photographed in slow motion and then edited in such brief cuts that the fighting is nightmarishly concentrated—almost sublimi­nal. Shot by Phil Lathrop in cold, five-o'clock-shadow green-blue tones, the film is airless—an involuted, corkscrew vision of a tight, modern world.

    Peckinpah was forced to trim The Killer Elite to change its R rating to a PG. Why would anybody want a PG-rated Peckinpah film? The answer is that United Artists, having no confidence in the picture, grabbed the chance to place it in four hundred and thirty-five theatres for the Christmas trade; many of those theatres wouldn't have taken it if it had an R and the kids couldn't go by themselves.

    ...The physical rehabilitation of the hero in The Killer Elite (his refusal to accept the company's decision that he's finished) is an almost childishly transparent disguise for Peckinpah's own determination to show Holly­wood that he's not dead yet—that, despite the tabloid views of him, frail and falling-down drunk, he's got the will to make great movies. He's trying to pick up the pieces of his career. Amazingly, Peckinpah does rehabilitate himself; his technique here is dazzling. In the moments just before violence explodes, Peckinpah's work is at its most subtly theatrical: he savors the feeling of power as he ticks off the seconds before the suppressed rage will take form. When it does, it's often voluptuously horrifying (and that is what has given Peckinpah a dubious reputation—what has made him Bloody Sam), but this time it isn't gory and yet it's more daring than ever. He has never before made the violence itself so surreally, fluidly abstract; several sequences are edited with a magical speed—a new refinement.

    ...In The Killer Elite, James Caan is the hero who acts out Peckinpah's dream of salvation, but it's Gig Young's face that haunts the film. Gig Young represents Peckinpah's idea of what he will become if he doesn't screw them all and sail away...James Caan goes through the athletic motions of heroism and acts intelligently, but he doesn't bring the right presence to the role. His stoicism lacks homicidal undercurrents, and he doesn't have the raw- nerved awareness that seems needed.

    ...Much of what Peckinpah is trying to express in The Killer Elite is probably inaccessible to audiences, his moral judgments being based less on what his characters do than on what they wouldn't stoop to do. (In Hollywood, people take more pride in what they've said no to than in what they've done.) Yet by going so far into his own hostile, edgily funny myth—in being the maimed victim who rises to smite his enemies—he found a ferocious unity, an Old Testament righteousness that connects with the audience in ways his last few pictures didn't. At the beginning of The Killer Elite, the lack of sunlight is repellent; the lividness looks cheap and pulpy—were those four hundred and thirty-five prints processed in a sewer? But by the end a viewer stares fixedly, not quite believing he's seeing what he's seeing: a nightmare ballet. In the free-form murderous finale, with guns, Samurai swords, and lethal skills one has never heard of before, there are troops of Oriental assassins scurrying over the phantom fleet of Second World War ships maintained in Suisun Bay, north of San Francisco. Wrapped up in their cult garb so we can't tell one from another, the darting killers, seen in those slow-motion fast cuts, are exactly like Peckinpah's descriptions of the teeming mediocrities, jackals, hangers-on, and just plain killers that Hollywood is full of.

    Interesting reading, @Revelator – thanks for sharing! It does indeed have a post-Watergate feel to it, which is nicely represented n the plot; it could even have been explored further, but this is an action flick of course, so you wouldn't expect them to do so. I wouldn't be surprised if I find The Killer Elite better on the second viewing.

    Also worth mentioning that I found Arthur Hill very good in this film. Perfect casting!
  • LeonardPineLeonardPine The Bar on the Beach
    edited September 2018 Posts: 3,985
    The Meg

    Was after watching something brainless but entertaning. It delivered with the brainless part.
    God knows how much WB spent on this drek and to release it in cinemas? Have they no shame?!!!

    With not an original bone in it's body this re-uses ideas from all of the Jaws movies and even fails in the so bad its good category. With a woeful script and acting to match.

    It doesn't even have a big gore factor that would liven things up. In fact the victim count is miserably low. At least the makers of Piranha 3D made theirs an exploitation film

    Then we come to the worst aspect of this turkey. The 'special effects'. The CGI is abysmal. when you think Jurassic Park is nigh on 25 years old you wouldn't have believed watching this that effects work had advanced at all. In fact JP's effects are far superior to this films laughably unrealistic cartoon shark.

    Thankfully i didn't pay to see this. Anyone paying to see this at the cinema you have been warned!
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,046
    LeonardPine wrote: »
    The Meg

    Was after watching something brainless but entertaning. It delivered with the brainless part.
    God knows how much WB spent on this drek and to release it in cinemas? Have they no shame?!!!

    With not an original bone in it's body this re-uses ideas from all of the Jaws movies and even fails in the so bad its good category. With a woeful script and acting to match.

    It doesn't even have a big gore factor that would liven things up. In fact the victim count is miserably low. At least the makers of Piranha 3D made theirs an exploitation film

    Then we come to the worst aspect of this turkey. The 'special effects'. The CGI is abysmal. when you think Jurassic Park is nigh on 25 years old you wouldn't have believed watching this that effects work had advanced at all. In fact JP's effects are far superior to this films laughably unrealistic cartoon shark.

    Thankfully i didn't pay to see this. Anyone paying to see this at the cinema you have been warned!

    I had incredibly low expectations for THE MEG and it failed to even meet those. Extremely disappointing. The book was great - it had no pretenses as to its own worth. Pulpy, cheesy violence. Perfect in-flight reading.
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    CraigMooreOHMSS wrote: »
    LeonardPine wrote: »
    The Meg

    Was after watching something brainless but entertaning. It delivered with the brainless part.
    God knows how much WB spent on this drek and to release it in cinemas? Have they no shame?!!!

    With not an original bone in it's body this re-uses ideas from all of the Jaws movies and even fails in the so bad its good category. With a woeful script and acting to match.

    It doesn't even have a big gore factor that would liven things up. In fact the victim count is miserably low. At least the makers of Piranha 3D made theirs an exploitation film

    Then we come to the worst aspect of this turkey. The 'special effects'. The CGI is abysmal. when you think Jurassic Park is nigh on 25 years old you wouldn't have believed watching this that effects work had advanced at all. In fact JP's effects are far superior to this films laughably unrealistic cartoon shark.

    Thankfully i didn't pay to see this. Anyone paying to see this at the cinema you have been warned!

    I had incredibly low expectations for THE MEG and it failed to even meet those. Extremely disappointing. The book was great - it had no pretenses as to its own worth. Pulpy, cheesy violence. Perfect in-flight reading.
    I'm frankly quite surprised at how much moola this pitiful trash has made at the box office (both domestic and foreign). It's frightening to contemplate what that could mean for beloved franchises looking to extend their reach into global markets.
  • LeonardPineLeonardPine The Bar on the Beach
    Posts: 3,985
    bondjames wrote: »
    CraigMooreOHMSS wrote: »
    LeonardPine wrote: »
    The Meg

    Was after watching something brainless but entertaning. It delivered with the brainless part.
    God knows how much WB spent on this drek and to release it in cinemas? Have they no shame?!!!

    With not an original bone in it's body this re-uses ideas from all of the Jaws movies and even fails in the so bad its good category. With a woeful script and acting to match.

    It doesn't even have a big gore factor that would liven things up. In fact the victim count is miserably low. At least the makers of Piranha 3D made theirs an exploitation film

    Then we come to the worst aspect of this turkey. The 'special effects'. The CGI is abysmal. when you think Jurassic Park is nigh on 25 years old you wouldn't have believed watching this that effects work had advanced at all. In fact JP's effects are far superior to this films laughably unrealistic cartoon shark.

    Thankfully i didn't pay to see this. Anyone paying to see this at the cinema you have been warned!

    I had incredibly low expectations for THE MEG and it failed to even meet those. Extremely disappointing. The book was great - it had no pretenses as to its own worth. Pulpy, cheesy violence. Perfect in-flight reading.
    I'm frankly quite surprised at how much moola this pitiful trash has made at the box office (both domestic and foreign). It's frightening to contemplate what that could mean for beloved franchises looking to extend their reach into global markets.

    Just means we'll get more of this crap foisted on us because of extremely easy to please and tasteless audiences.
  • Master_DaharkMaster_Dahark
    edited September 2018 Posts: 4,813
    SOLO- 2018

    new-solo-art.jpg

    Me and my wife sat down and watched Solo.
    It was even better than I remember it!

    I don’t get all these complaints like ‘ooooooh we don’t NEEEEEED a Han Solo movie’. While I can appreciate however the desire to keep a character like him a mystery, to all the people who’ve avoided this movie for that reason: this is barely an origin movie. You learn a thing or two, yes, but it’s very much a stand alone adventure movie that stars young Han Solo- and that’s awesome if you ask me!

    I really hope we get another movie with Alden— perhaps that could be the Boba Fett movie they’ve teased. (If any of it’s still happening....)

    Out of all the new Disney Star Wars movies, I liked Solo the most
  • chrisisallchrisisall Brosnan Defender Of The Realm
    Posts: 17,694
    Master_Dahark wrote: »
    Out of all the new Disney Star Wars movies, I liked Solo the most
    I can understand that. I might even agree after I see it again. In my memory Rogue One was better by a little bit, but that might change.
  • Agent007391Agent007391 Up, Up, Down, Down, Left, Right, Left, Right, B, A, Start
    Posts: 7,854
    chrisisall wrote: »
    Master_Dahark wrote: »
    Out of all the new Disney Star Wars movies, I liked Solo the most
    I can understand that. I might even agree after I see it again. In my memory Rogue One was better by a little bit, but that might change.

    I'll never understand the hate for Solo. It's a fun, entertaining film, pure popcorn entertainment. It hurt absolutely nothing.
  • talos7talos7 New Orleans
    Posts: 8,009
    I thoroughly enjoyed Solo; considering the troubled history of this production, one wonders how good it could have been with a sure hand directing from the start .
    Ron Howard is a miracle worker; to come in and re-shoot 80% of a film, with the clock ticking , is a feat few directors could have pulled off so successfully.
  • chrisisallchrisisall Brosnan Defender Of The Realm
    Posts: 17,694
    talos7 wrote: »
    I thoroughly enjoyed Solo; considering the troubled history of this production, one wonders how good it could have been with a sure hand directing from the start .
    Ron Howard is a miracle worker; to come in and re-shoot 80% of a film, with the clock ticking , is a feat few directors could have pulled off so successfully.

    I saw no tonal or editorial problems in the final cut of this film as I did with Justice League. But then, Howard had a lot more leeway than Whedon did.
  • Agent007391Agent007391 Up, Up, Down, Down, Left, Right, Left, Right, B, A, Start
    Posts: 7,854
    chrisisall wrote: »
    talos7 wrote: »
    I thoroughly enjoyed Solo; considering the troubled history of this production, one wonders how good it could have been with a sure hand directing from the start .
    Ron Howard is a miracle worker; to come in and re-shoot 80% of a film, with the clock ticking , is a feat few directors could have pulled off so successfully.

    I saw no tonal or editorial problems in the final cut of this film as I did with Justice League. But then, Howard had a lot more leeway than Whedon did.

    It's also more his film. Joss Whedon was never allowed to really craft Justice League into his own movie, it had to basically remain Zack Snyder's movie. Ron Howard was pretty much told to reshoot everything his way.
  • Mathis1Mathis1
    Posts: 6,861
    The Long Riders (1980)
    Continuing my viewing of Walter Hill movies (in between watching series one of True Detective)
    This was Hills first western. Another retelling of the Jesse James gang, the gimmick here is using real brothers to play the leads. James and Stacey Keach play the main roles, and David and Keith carradine the Younger brothers, plus Dennis and Randy Quaid in smaller roles. The Carradines come off the best, mainly David who is terrific as Cole (he has a great knife fight in a bar). Production standards are of Hills usual high standard, Ric Waite lensing (he worked with Hill again on 48 Hrs) and for the first of man y collaborations, Ry Cooder scores (Hill had to fight the studio to get him) and he does marvellous work. Not Hills best by far, but enjoyable. The finale, the infamous Northfield Minnesota raid, is brilliantly staged, with great sound effects.
  • Lancaster007Lancaster007 Shrublands Health Clinic, England
    Posts: 1,874
    Mathis1 wrote: »
    The Long Riders (1980)
    Continuing my viewing of Walter Hill movies (in between watching series one of True Detective)
    This was Hills first western. Another retelling of the Jesse James gang, the gimmick here is using real brothers to play the leads. James and Stacey Keach play the main roles, and David and Keith carradine the Younger brothers, plus Dennis and Randy Quaid in smaller roles. The Carradines come off the best, mainly David who is terrific as Cole (he has a great knife fight in a bar). Production standards are of Hills usual high standard, Ric Waite lensing (he worked with Hill again on 48 Hrs) and for the first of man y collaborations, Ry Cooder scores (Hill had to fight the studio to get him) and he does marvellous work. Not Hills best by far, but enjoyable. The finale, the infamous Northfield Minnesota raid, is brilliantly staged, with great sound effects.

    One of my all-time favourite Western films. Never tire of watching it. Just wish there was a decent blu-ray with a 5.1 soundtrack, this film is crying out for it.
    Jack ‘o Diamonds I’ve know you a long time
    The end credit song is fkg ace. Love Ry Cooder on this and Hill’s Southern Comfort.
  • DarthDimiDarthDimi Behind you!Moderator
    Posts: 23,612
    That's a strong endorsement, @Lancaster007. I think I will give that film a chance.
  • conradhankersconradhankers Underground
    Posts: 222
    If you like Sci-fi please give this feature a run for its money:

    No Blade of Grass (1970). Directed by Cornel Wilde.

    Mad Max meets a cup of Earl Grey Tea in the British countryside. It is a bit trippy but it does somewhat remind me of what's going on in our society with the rise of old beliefs and fears. Enjoy.
  • mattjoesmattjoes Lovers' Rosy Stain
    Posts: 6,778
    Mathis1 wrote: »
    The Long Riders (1980)
    Continuing my viewing of Walter Hill movies (in between watching series one of True Detective)
    This was Hills first western. Another retelling of the Jesse James gang, the gimmick here is using real brothers to play the leads. James and Stacey Keach play the main roles, and David and Keith carradine the Younger brothers, plus Dennis and Randy Quaid in smaller roles. The Carradines come off the best, mainly David who is terrific as Cole (he has a great knife fight in a bar). Production standards are of Hills usual high standard, Ric Waite lensing (he worked with Hill again on 48 Hrs) and for the first of man y collaborations, Ry Cooder scores (Hill had to fight the studio to get him) and he does marvellous work. Not Hills best by far, but enjoyable. The finale, the infamous Northfield Minnesota raid, is brilliantly staged, with great sound effects.

    I haven't seen the film, but I was jusy reading a bit about its production history. Interesting stuff.
  • peterpeter Toronto
    Posts: 8,599
    HOLD THE DARK, directed by Jeremy Saulnier-- who also directed THE GREEN ROOM.

    Uh... where to start?... If you like slow-burn thriller/horrors, something akin to the 70s way of filmmaking, you'll like this. If you also enjoyed TGR, you will understand the sensibilities of this filmmaker and you can go in expecting something very unconventional, dark, exceptionally disturbing.

    I was mesmerized for the two hours.

    And felt very dirty afterwards.

    You've been warned!
  • barryt007barryt007
    Posts: 19,339
    TAXI DRIVER

    I prefer it to Blade Runner by a mile,but again,i fail to see what the fuss is all about,apart from a great history lesson on 70's NYC.
  • Mendes4LyfeMendes4Lyfe The long road ahead
    edited September 2018 Posts: 8,158
    doubleoego wrote: »
    Mission Impossible: Fallout....it's better than any recent Bond film by far.

    Agreed, wipes the floor with SP, SF and QoS. Bond 25 needs to at least match Fallout in terms of sheer exhilaration and excitement.
  • ThunderfingerThunderfinger Das Boot Hill
    Posts: 45,489
    barryt007 wrote: »
    TAXI DRIVER

    I prefer it to Blade Runner by a mile.

    I love both, but my preference is the opposite.
  • SharkBaitSharkBait
    Posts: 2,107
    The Hateful Eight
    Django Unchained
    Out for Justice
    Justice League
    The Wild Bunch
  • LeonardPineLeonardPine The Bar on the Beach
    Posts: 3,985
    Mendes4Lyfe wrote: »
    doubleoego wrote: »
    Mission Impossible: Fallout....it's better than any recent Bond film by far.

    Agreed, wipes the floor with SP, SF and QoS. Bond 25 needs to at least match Fallout in terms of sheer exhilaration and excitement.

    'Wipes the floor' is a bit over the top. Fallout was great entertainment but won't have the endurance of QoS or SF which improve on each viewing. Oh and they are BOND movies!
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,046
    LeonardPine wrote: »
    Mendes4Lyfe wrote: »
    doubleoego wrote: »
    Mission Impossible: Fallout....it's better than any recent Bond film by far.

    Agreed, wipes the floor with SP, SF and QoS. Bond 25 needs to at least match Fallout in terms of sheer exhilaration and excitement.

    'Wipes the floor' is a bit over the top. Fallout was great entertainment but won't have the endurance of QoS or SF which improve on each viewing. Oh and they are BOND movies!

    I disagree with this, very humbly. Being a Bond movie isn't enough to put above superior fare. That's not to say Fallout is better than all Bond flicks, but to have this mentality is what results in films like DAD, SP, etc. It's complacency.

    Bond might be invincible in the long run, sure - but when it comes to quality of individual films, Fallout deserves its praise. It will hold up in the long run even if Cruise and co. can't top it with the next film.
  • RichardTheBruceRichardTheBruce I'm motivated by my Duty.
    Posts: 13,108
    M:I Fallout is excellent.

    I like Spectre a lot more. Hopefully we all enjoy BOND 25, but it should feel self-assured rather than the non-stop clock is ticking pace of M:I.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,046
    RichardTheBruce wrote: »
    M:I Fallout is excellent.

    I like Spectre a lot more.     Hopefully we all enjoy BOND 25, but it should feel self-assured rather than the non-stop clock is ticking pace of M:I.

    Because it's a Bond film?
  • DarthDimiDarthDimi Behind you!Moderator
    Posts: 23,612
    A Quiet Place
    Excellent horror flick!

    Darkman trilogy
    Oh well... Not exactly good, now is it?

    Green Room
    Very interesting film, bringing Captain Picard and young Checkov together for a pretty dark and nihilistic thriller.
  • mattjoesmattjoes Lovers' Rosy Stain
    Posts: 6,778
    DarthDimi wrote: »
    Darkman trilogy
    Oh well... Not exactly good, now is it?

    Not even the first one?
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