I wound up going with a girlfriend because... well... we had already seeen another movie, and we wanted to go make out in this one, so we snuck in. (mind you I was in eighth grade).
What I actually watched of this movie I absolutely hated. It seemed like nothing was going anywhere... good night thoguh.

I hired Kick-Ass last night to see what all the fuss was about. It's definitely not worthy of the hyperbole that surrounds it. It's just an ok fun movie.

I'm pretty sure that's what most people have said about it...

mister freedom - 5/10

Strange movie where the "hero" -- who represents all of America, by the way -- beats, robs, insults, rapes, and/or kills everyone who disagrees with him. Sometimes hilarious, often ridiculous, but mostly stupid anti-American comedy! Watch it today! Or don't!

Both of them absolutely wonderful films.

I think I hated it. It made me feel awful to watch.

8/10

Isnt that an eclipse set you're watching Adam?

Um, whatever. I thought it was pretty bold to completely change the plot of the film after about half an hour or however long it was, and I like how it slowly found it's way back to the original thread. But as a whole the film just felt extremely stagnant. Especially towards the beginning, all those pauses and what not. Robert Blakes character was easily the best part. Having Bill Pullman call his house to talk to him was the highlight of the movie for me.

I think my big problem with the film is that while being cryptic and deliberately elusive (which in itself doesn't bother me) it never really makes me feel like figuring it out. I could never really get interested in understanding the Fred/Pete relation, why the cabin reverse explodes, the message at the beginning/end, and so on. So I dunno, I'll probably watch it again sometime this week and see how I feel about it.

The Town. I fucking loved it.

FARGO. Finely watched it after all this time, I liked it a lot. Steve Buscemi and Peter Stormare as the criminals, you can't beat that combo. I like to give it my rating but I had this chick yakking in my ear the whole movie, so I'll have to watch it again.

You should've stuffed her through a wood chipper!

I know, I should've.

Fargo rules. I always forget that it's one of my favorite Coen movies.

It helps to watch this one twice to understand it. Here's my interpretation:

SPOLIERS AHEAD--SKIP THIS IF YOU HAVEN'T SEEN IT AND WANT TO

I'm not entirely sure about the cabin blowing up backwards or the video tapes left on Fred and Renee's doorstep, but basically the first part of the movie is exposition about Fred and his background; he's a tenor saxophone player living in California who's not at all right in the head. He hates video cameras/recordings because he prefers to remember things as he wished they had happened (and "not necessarily as they were") and he suspects his wife's being unfaithful to him, leading him to brutally murder her. Now Fred has been sentenced to death by the electric chair. While awaiting execution on death row, he enters a deep fantasy/hallucination about being Pete, a young, gifted mechanic with lots of friends and gets "more pussy than a toliet seat"-basically, an idealization. But subconsciously, Fred/Pete knows in reality things are far less happy and he's going to die soon. The cops are constantly trailing him. His fantasy slowly becomes darker, more fucked up, and many allusions to death pop up, both in the soundtrack ("I'm dyin'/Hope you're dyin' too" from Marilyn Manson's "Apple of Sodom") and the dialogue (Mystery Man (Robert Blake) talking to Pete on the phone about how "in the East, the Far East, when a person is sentenced to death, they're sent to a place where they can't escape, never knowing when an executioner may step up behind them, and fire a bullet into the back of their head"). Cameras and film recordings make an important appearance near the end, representing truth rising to the surface. The final sequence, in which Fred's being chased by the cops after "killing" Dick Laurent and Andy (wish fufillment: taking revenge on those whom Renee was cheating on him with-not to mention making me resolve to never buy a glass topped coffee table with sharp edges) is the the final grains of sand in the hourglass falling through; when he begins thrashing around wildly and a sound like electricity can be heard, that's Fred in the electric chair (he's so crazy, he can't tell the difference between fantasy and reality even while he's being executed). Many think he's having a seizure, but there's no way he could keep the car on the road if he were, and it certainly doesn't look like he's crashing...

At least, that's the way I see it. I could be way off.

boardwalk empire. awesome show.

PARIS TEXAS! Easy 10/10 film.

Fargo is also a 10/10 in my opinion.

As for Lost Highway, I think the first 45 minutes is the only good part. All that silence is amazing. Great atmosphere. The film, as a whole, is way too long, like most of Lynch's films. It's probably a 6/10.

What's Eating Gilbert Grape
UHF
Halloween 6

That's an awesome Triple Feature, NR! ^





Terror Train (1980)

Nothing too spectacular, but it was well-worth the $3 I paid for it at the pawn shop. As a fan of the first two Halloween films, The Fog, and Prom Night, I had been planning on seeing this for a while now - I just never got around to it.

I loved the costumes, the colorful lighting at times, Jaimie Lee Curtis did a fine job, and the writing was...decent. A few creative plot twists here, and there, but the identity of the killer was still pretty predictable.

7/10

The older I get, the less I care about tired slashers like Terror Train. The first slasher film I ever had, and remember loving was MANIAC -- I guess that set an impossibly high standard! Haha. I still love shit like Don't Go in the House, Driller Killer, The Demon, New Year's Evil.. stuff with a extremely weird/dark atmospheres, creative editing, and stuff going on besides "guy going to a dorm and killing people" (the weird psychic link stuff in the Demon, as well as the most unexpected demise of a main character ever; New Year's Evil's superweird vibe, Don't Go in the House's "disco scene" and bizarrely unapologetic flamethrower-to-nude-girl scenes, Driller Killer's brilliant use of sound and color). Without those hooks, they just kinda bore me... On the other hand, giallos still do it for me, because those are usually creative, stylish, and mind-warping.

When I saw this as a kid Alan Arkin scared the shit out of me especially the last lunge.