That film was way better than it might have been, as far as romantic fluff goes.Age of Adaline - 7/10 good movie without the need for loads of CGI and gore
What film did you watch last night?
- Thread starter Richeh
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Great movie!
Outland.
http://www.imdb.com/title/tt0082869/
This was a film suggested in the recent sci-fi thread, and I actually enjoyed it more than I thought I would. It seems to have aged well for a 35+-year-old movie, though I thought the ending was weak/too sudden. Definitely worth a look if you like sci-fi and/or Connery.
Thanks for the suggestion.
http://www.imdb.com/title/tt0082869/
This was a film suggested in the recent sci-fi thread, and I actually enjoyed it more than I thought I would. It seems to have aged well for a 35+-year-old movie, though I thought the ending was weak/too sudden. Definitely worth a look if you like sci-fi and/or Connery.
Thanks for the suggestion.
The Nice Guys. It's LA Confidential, with an idiot running the show. Ryan Gosling proves to be really funny in this. There's boobs galore. My wife laughed all the way through. It reminded me a lot of The Big Lebowski, in that it's patently ridiculous, but everyone takes it very seriously. Yep, worth a watch overall.
Das Boot.
In the entire history of cinema, there have only been two perfect war movies: Apocalypse Now, and Das Boot. I watched Apocalypse Now /Redux several years ago, and yesterday I finished the 3.5-hour Director's Cut of Das Boot.
The submarine subgenre goes all the way back to 1915's The Secret of the Submarine, and has not improved much since then.
Sweden gave it the old college try in 1952 with Ubåt 39, but nobody's quite sure if this is a good submarine movie or not because it has only ever been seen by the Swedes, who refuse to discuss it.
1958 brought us Clark Gable and Burt Lancaster in Run Silent, Run Deep, which Americans thought was fantastic, and pretty much everyone else thought was 'meh' because it deviated so wildly from the plot of the book.
The big ones that most people remember are The Hunt for Red October (1990) by Tom 'I-Never-Met-An-Offensive-Stereotype-I-Didn't-Like' Clancy, and Crimson Tide (1995) by Richard 'P' Henrick. These formulaic Cold War paranoia flicks were acceptable for the time, but their clunky plots and simmering racial tensions have not aged well.
Enter Das Boot.
Wolfgang Petersen's 1981 WWII classic has gone down in history as the greatest submarine film ever made, and is unlikely to be surpassed before the heat death of the universe.
Starring Jürgen Prochnow as Kapitänleutnant Henrich Lehmann-Willenbrock, Herbert Grönemeyer as Leutnant Werner, and Klaus Wennemann as Leitender Ingenieur Fritz Grade, this exceptional film is in a league of its own.
Filmed entirely with practical special effects using an advanced custom made hand-held Arriflex camera with proto-Steadicam technology, Das Boot took two years to make, and was finally cut from over 330,000 metres of exposed film.
With a budget of 32 million Deutsche Marks, it was the second most expensive German film the world had ever seen (second only to Metropolis) and remains one of the most expensive today.
The genius of Das Boot is its timelessness. Even today there is almost nothing in the film that looks dated, though the colour saturation is a little weak by current standards. The cinematography is astonishingly good, particularly considering the conditions under which Das Boot was shot.
The performances are superlative. Prochnow is the standout, but Grönemeyer and Wennemann are not far behind. Erwin Leder deserves a special mention as Obermaschinist Johann, whose steadily deteriorating mental state is a masterclass of method acting.
Above all, it is the gritty realism of Das Boot that captivates audiences and keeps the movie fresh. The crew grow beards over time; their faces become drawn and haggard; their eyes become sunken and bloodshot; their clothes become dirty, and remain so.
The longer you watch, the more it draws you in. After the first 60 minutes you can already feel the damp heat, smell the stink of diesel, and sense the flexing of metal plates as the U-boat approaches crush depth.
There is not a single wasted minute in this film, which—like all the best war movies—is stridently anti-war.
I rate Das Boot at 33.3 on the Haglee Scale, which works out as an unbeatable 10/10 on IMDB (where Das Boot is sadly underrated at 8.4).
In the entire history of cinema, there have only been two perfect war movies: Apocalypse Now, and Das Boot. I watched Apocalypse Now /Redux several years ago, and yesterday I finished the 3.5-hour Director's Cut of Das Boot.
The submarine subgenre goes all the way back to 1915's The Secret of the Submarine, and has not improved much since then.
Sweden gave it the old college try in 1952 with Ubåt 39, but nobody's quite sure if this is a good submarine movie or not because it has only ever been seen by the Swedes, who refuse to discuss it.
1958 brought us Clark Gable and Burt Lancaster in Run Silent, Run Deep, which Americans thought was fantastic, and pretty much everyone else thought was 'meh' because it deviated so wildly from the plot of the book.
The big ones that most people remember are The Hunt for Red October (1990) by Tom 'I-Never-Met-An-Offensive-Stereotype-I-Didn't-Like' Clancy, and Crimson Tide (1995) by Richard 'P' Henrick. These formulaic Cold War paranoia flicks were acceptable for the time, but their clunky plots and simmering racial tensions have not aged well.
Enter Das Boot.
Wolfgang Petersen's 1981 WWII classic has gone down in history as the greatest submarine film ever made, and is unlikely to be surpassed before the heat death of the universe.
Starring Jürgen Prochnow as Kapitänleutnant Henrich Lehmann-Willenbrock, Herbert Grönemeyer as Leutnant Werner, and Klaus Wennemann as Leitender Ingenieur Fritz Grade, this exceptional film is in a league of its own.
Filmed entirely with practical special effects using an advanced custom made hand-held Arriflex camera with proto-Steadicam technology, Das Boot took two years to make, and was finally cut from over 330,000 metres of exposed film.
With a budget of 32 million Deutsche Marks, it was the second most expensive German film the world had ever seen (second only to Metropolis) and remains one of the most expensive today.
The genius of Das Boot is its timelessness. Even today there is almost nothing in the film that looks dated, though the colour saturation is a little weak by current standards. The cinematography is astonishingly good, particularly considering the conditions under which Das Boot was shot.
The performances are superlative. Prochnow is the standout, but Grönemeyer and Wennemann are not far behind. Erwin Leder deserves a special mention as Obermaschinist Johann, whose steadily deteriorating mental state is a masterclass of method acting.
Above all, it is the gritty realism of Das Boot that captivates audiences and keeps the movie fresh. The crew grow beards over time; their faces become drawn and haggard; their eyes become sunken and bloodshot; their clothes become dirty, and remain so.
The longer you watch, the more it draws you in. After the first 60 minutes you can already feel the damp heat, smell the stink of diesel, and sense the flexing of metal plates as the U-boat approaches crush depth.
There is not a single wasted minute in this film, which—like all the best war movies—is stridently anti-war.
I rate Das Boot at 33.3 on the Haglee Scale, which works out as an unbeatable 10/10 on IMDB (where Das Boot is sadly underrated at 8.4).
Transformers - The Last Knight 3/10
The first movie was awesome, but since then, each one has gone progressively downhill. Seriously, if they want to do it right, just copy/paste the 80's movie.
I saw it in 4DX, which was kinda cool. I was surprised how much the seats move but some of the effects did break the immersion for me.
The first movie was awesome, but since then, each one has gone progressively downhill. Seriously, if they want to do it right, just copy/paste the 80's movie.
I saw it in 4DX, which was kinda cool. I was surprised how much the seats move but some of the effects did break the immersion for me.
Because she's an angel. She's our version of Monica Bellucci. She's wonderful, and that shag-monster Daniel Craig doesn't deserve her.
Have you watched the full series that this movie is edited down from? It's listed as 4 hours and 42 minutes, so there's a chunk more content in there.
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I've wanted to see this for a while. Would you recommend it then?
No, and I haven't seen the original theatrical cut either. The Director's Cut is considered to be the most accurate version of Petersen's vision; it's the one he wanted to release in the first place.
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trainspotting 2 and what an utter mess that movie was. absolutely terrible