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Brian Hague
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Posted: 01 July 2019 at 1:44pm | IP Logged | 1 post reply

I know, right? I did not like it when Andie wound up with him in PRETTY IN PINK. But then you read interviews with Molly Ringwald and Jon Cryer's account of what it was like to film with them, and you're like, "No, that kinda works now..." :-)

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Shaun Barry
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Posted: 01 July 2019 at 2:05pm | IP Logged | 2 post reply


(That's another one I've avoided, Brian... still haven't seen it to this day!)





Edited by Shaun Barry on 01 July 2019 at 2:05pm
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Shaun Barry
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Posted: 01 July 2019 at 8:59pm | IP Logged | 3 post reply


Followed by:

INCREDIBLES 2 (2018)

For me, gets better & better with each viewing... some of the best color, visuals and action in any superhero movie, ever, animated or otherwise.  A ton of fun.




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Peter Martin
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Posted: 02 July 2019 at 7:09am | IP Logged | 4 post reply

Halloween (2018)

This got decent reviews, but I'm struggling to see why. The first film was terrifying and brilliant. H20 was half decent, with some suspense and an attempt to build some actual characters within a distinctive and slightly fresh milieu.

This film generally wants to rehash and manages to make Michael Myers very uninteresting. It also wants to have its cake and eat it, blithely dismissing all the other sequels, but then revisiting ideas from H20 (you didn't have Laurie kill him once and for all, because you never happened and you're no good! Now watch, as we brilliantly have Laurie kill him once and for all! And our Laurie has PTSD from that fateful night in Haddonfield in 1978. Masterstroke! Oh, you did that as well? Well, you never happened!)

I have never been a fan of the idea that Laurie Strode was Michael's sister and I think it was a dumb retcon. It does, however, give an explanation for why he comes after her again. This film gives a rather half-baked hypothesis muttered by a nutjob psychiatrist but doesn't really come up with a satisfactory reason why one-note Michael is back for this grey-haired former babysitter from forever ago.

The film has one very effective suspenseful scene that plays with expectations enough to get the heart racing, but the actual blood-letting itself is dull and grim, generally anonymous people who are introduced literally a couple of seconds before in order to be slaughtered. Not recommended.


Edited by Peter Martin on 02 July 2019 at 7:11am
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John Byrne
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Posted: 02 July 2019 at 5:48pm | IP Logged | 5 post reply

PIRANHA (3D) (2010)

Well, it’s not NATIONAL GEOGRAPHIC, but its over-the-top approach does hold one’s attention!

(Be warned, tho, this is one of those horror movies whose last scene undoes everything that has gone before.)

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Tim O Neill
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Posted: 02 July 2019 at 8:46pm | IP Logged | 6 post reply



THE NORTH AVENUE IRREGULARS (1979) - I have such great memories of
seeing this Disney comedy in theaters as a kid. The premise and humor really
worked for me. I remembered it as a bunch of old ladies taking on the mob, in
the same broad comedic sense as THE ABSENT MINDED PROFESSOR or the
Kurt Russell comedies that he did for Disney. I have thought about it from time
to time, and when it popped up on TCM, I couldn't resist checking it out.

Unfortunately, time has not been kind to this movie - either that or I was a kid
with profoundly bad taste. Edward Herrmann is a young pastor who comes to
town and his youthful exuberance leads him to make some bad decisions, like
losing the church's money to the mob. The police, the pastor and the church's
auxiliary club then start a surveillance scheme to monitor and catch the mob.
It has some great ideas, but nothing gets executed well

There are some bright lights - Cloris Leachman shines in whatever she does,
and this is no exception. And Barbara Harris has excellent comedic timing as a
mother with a car full of kids chasing the mob. Yes, the kids are in the car the
whole time - you really have to check logic at the door for this one and see it
for the broad comedy that it is.

And I was horrified that the group of "old women" included just one person
who fits that description. Most are younger than I am now, and while the script
doesn't really work, their acting is strong. On the one hand, they are playing to
female stereotypes, but on the other they transcend those roles and become
the heroes that take down the mob.

I won't take easy shots at Herrmann's pastor-on-a-moped heroism - it's so bad
it's like shooting fish in a barrel.



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Shaun Barry
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Posted: 02 July 2019 at 9:16pm | IP Logged | 7 post reply


DO THE RIGHT THING (1989)

Sadly, just as relevant today as it was 30 years ago this summer.  If not moreso.



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Jack Bohn
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Posted: 03 July 2019 at 6:44am | IP Logged | 8 post reply

Tim, I can't quite commiserate with you, having not see THE NORTH AVENUE IRREGULARS before, but I give everything on Disney night a try, and I was zoning out as we reached the "climax." The (4H?) animals in the station wagon reminded me of the animation under the opening credits; pretty gutsy move to tell the whole story in cartoon form, first!
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Tim O Neill
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Posted: 03 July 2019 at 6:46pm | IP Logged | 9 post reply



HA! Yes, I should have stopped at the opening credit
sequence - it was all downhill after that!



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John Byrne
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Posted: 03 July 2019 at 7:13pm | IP Logged | 10 post reply

LILO & STITCH (2002)

One of my all time favorites, tho I confess almost two decades of CGI has spoiled me somewhat for traditional animation. Love to see this one redone in full CG. (Not “live action”!!!)

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Brian Hague
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Posted: 03 July 2019 at 8:05pm | IP Logged | 11 post reply

There's no way to describe the film that doesn't make it sound like a stunt, but I very much enjoyed SEACHING (2018) with John Cho as a father whose daughter goes missing. He begins searching for her on the internet, hacking her accounts and contacting the people she's been interacting with. 

Here's the thing: The story never leaves the computer or smartphone screen. Even the bits of news footage are shown as live video feeds on a computer. There are scenes with character interaction and dialogue, but they are in context of webcam footage and Facetime calls. There are stretches where no dialogue takes place. It is simply the cursor moving over files as we see what the dad is doing online, building spreadsheets to track everyone's story, moving from one website to the next, comparing photos, copying and pasting information... 

I'm far from tech-savvy and had trouble following the "action" at times, but overall, I enjoyed the story and am all in favor of a film that literally requires you to keep your eyes on what's happening to track the flow of information. Debra Messing plays the police detective on the case, and like Cho, spends most of her screen time talking to the "camera" and conversing with the father online. 

The director, Aneesh Chaganty, and his writing partner, Sev Ohanian, filmed their script in rough form from start to finish, with Chaganty playing all the parts so they could show the crew what they were after and how the footage they would be shooting would eventually fit together. The film itself was shot with iPhones, GoPro devices, drones, and various other forms of "everyday" modern tech, then edited into screens the creators had to make themselves, painstakingly researching the way various sites looked and operated at various points in the story's chronology. It's definitely a different way to tell a story, and one that I found audacious and intriguing. 


Edited by Brian Hague on 03 July 2019 at 8:07pm
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Doug Centers
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Posted: 04 July 2019 at 6:10am | IP Logged | 12 post reply

"Love to see this one redone in full CG."

...

"Et tu, Brute?"
To me L&S is one of the last great traditionally animated movies. I can only think of it in that way.
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