Non-Fortean Films

skinny

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Now Blue Velvet. That one gets a re-viewing every year. That's how you direct Dennis Hopper.
 
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GNC

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I think we've discussed River's Edge before, but I was very impressed with it when I saw it as a teen - in fact, I thought a lot of it hilarious. Watched it again two decades later and didn't find it as funny, but it was compelling, and the acting all round is great. The teacher getting furious at his pupils not giving a shit about anything is a superb scene, as is anything with Dennis Hopper.

Weirdly, kids nowadays can be berated for caring too much, but I've no doubt there are plenty who cultivate heartlessness to get by.
 

GNC

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It is if you nick it on your laptop. See it on a big screen with an audience who are really into it and it's tremendous - there was a great atmosphere of us all not knowing whether to laugh or not, it was electric.
 

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..Weirdly, kids nowadays can be berated for caring too much, but I've no doubt there are plenty who cultivate heartlessness to get by.
Rivers Edge was described by at least one journalist as I remember it at the time as being a new genre in itself, the journalist excitedly labelled it as 'contemporary noir' which I took at the time to mean a spin on the old film noir approach to story telling .. and I think it did pick up on the zeitgeist of the late 80's/ early 90's apathy vibe amongst teens, the same era that later produced Nirvana and the like. Generation Y (as in: Why bother ?) .. Territorial Pissing even nodded to society's move towards apathy by sampling "C'mon everybody, smile on your brother" etc to laugh at the love vibe message of the 60's .. films like River's Edge, Pump Up The Volume and HEATHERS further cemented the generation Y and later 'slacker' movements.
 

GNC

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Black '47: basically a Chuck Norris film set in the Irish Famine of the 1840s. As there's probably no way I'd watch a drama about the Irish Famine, and every probability I'd watch a Chuck Norris film (within reason), this is a lot smarter decision artistically than it sounds, and it does smuggle the history lesson in. Stephen Rea is the highlight.
 
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Black '47: basically a Chuck Norris film set in the Irish Famine of the 1840s. As there's probably no way I'd watch a drama about the Irish Famine, and every probability I'd watch a Chuck Norris film (within reason), this is a lot smarter decision artistically than it sounds, and it does smuggle the history lesson in. Stephen Rea is the highlight.
Great performance by Rea, it's like he's an archetype.
 

GNC

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Great performance by Rea, it's like he's an archetype.
In truth, I can't recall a bad performance by Stephen Rea. Was slightly saddened to see how old he's looking, though, he's still the star of The Crying Game in my mind!
 

Swifty

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I'll watch this in case I'm pleasantly surprised but I'm not holding my breath .. this next episode of M.I.B. looks generic as hell.

 

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Mary Poppins Returns

This should be terrible but it's instead amazing ..

40 plus years later, everyone's favourite plum English speaking Nanny is back, played this time by Emily Blunt .. you'll struggle to spot any difference between hers and Julie Andrews voice, Emily's portrayal is also spot on, Mary Poppins again lands during a wind storm with her nose snootily in the air still looking practically perfect in every way, the music as well as the 60's style ink animation for the surreal sequences are also amazingly consistent with the original. The film's score is also from a different time (think 'Down With Love') .. I could have done without Meryl Streep briefly being in it, Colin Firth and Julie Walters are as well although they don't try to steal their scenes so have a bit more respect for the source material.

Mary Poppins is back after the original brother and sister from the first film find themselves in financial trouble, they're trying to raise his kids, his son George flies a kite during a storm and Mary Poppins is able to travel down the string to again start to look after the family. It's way better than it sounds and doesn't feel at all contrived.

 
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Naughty_Felid

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Mary Poppins Returns

This should be terrible but it's instead amazing ..

40 plus years later, everyone's favourite plum English speaking Nanny is back, played this time by Emily Blunt .. you'll struggle to spot any difference between hers and Julie Andrews voice, Emily's portrayal is also spot on, Mary Poppins again lands during a wind storm with her nose snootily in the air still looking practically perfect in every way, the music as well as the 60's style ink animation for the surreal sequences are also amazingly consistent with the original. The film's score is also from a different time (think 'Down With Love') .. I could have done without Meryl Streep briefly being in it, Colin Firth and Julie Walters are as well although they don't try to steal their scenes so have a bit more respect for the source material.

Mary Poppins is back after the original brother and sister from the first film find themselves in financial trouble, they're trying to raise his kids, his son George flies a kite during a storm and Mary Poppins is able to travel down the string to again start to look after the family. It's way better than it sounds and doesn't feel at all contrived.

Fortean Film section? Doesn't she float around and shit or is that bedknobs and broomsticks?
 

Swifty

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Fortean Film section? Doesn't she float around and shit or is that bedknobs and broomsticks?
Both and yeah but I got told off the last time I posted a traditionally kid's film in the Fortean Films thread .. there's another vid that links Bedknobs and Broomsticks with this new film .. honestly, it's very good indeed ..

WARNING! SPOILER HEAVY
 

GNC

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Two pressing questions:

Does Emily sing the death metal version of Supercalifragilisticexpialidocious?

Let's Go Fly a Kite is one of the most joyous songs ever written, are the songs in the new one up to that standard?
 
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Two pressing questions:

Does Emily sing the death metal version of Supercalifragilisticexpialidocious?

Let's Go Fly a Kite is one of the most joyous songs ever written, are the songs in the new one up to that standard?
Emily makes a great action hero (Edge Of Tomorrow, Sicario), I hope she kicks the crap out of bankers.
 

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Ever hear a song in a new context and think, woah, I get this now? I was watching Jim Hoskings' An Evening with Beverly Luff Linn (which is a LOT better than The Greasy Strangler) and near the end a song is played at a disco where Aubrey Plaza exclaims, "I love this song!" and starts dancing to it, getting Jemaine Clement to join in. The song was Words by F.R. David, which was the height of Europop naffness in the 1980s, but sounded great in that setting. Anyway, good film if you have a weird sense of humour.
 

GNC

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That's debatable! Still enjoyed Luff though...
I found TGS's studied tiresomeness (all deliberate) pretty wearing, but away from the support of the horror genre and into the trickier realm of a weirdo comedy without the less challenging disgust from the previous film, I liked AEWBLL a lot better. It's even oddly sweet at the end and it gives Aubrey a chance to shine in her offbeat way. MMMMMMMMMMMMMMMMMMM!!!
 

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Two pressing questions:

Does Emily sing the death metal version of Supercalifragilisticexpialidocious?

Let's Go Fly a Kite is one of the most joyous songs ever written, are the songs in the new one up to that standard?
Unfortunately not although I did include that version in The Bridlewitch Project, a film a few of us started making about trying to find one of our mates on the streets of Cromer that never got finished. And I've posted that version on here before somewhere. As to the sequel, yep, it's very joyous in the same way as the original .. I had my reservations about the cheeky chirpy cockney chappie at the beginning (and I still have) but I suppose Dick Van Dyke was just as crap in the original. The beginning reminded me of the Team America Paris street scenes except they were being ironic. After that, the films (and the songs) extremely old school. I read people who worked on the original came out of retirement for this although I don't know who but it definitely shows.

What it doesn't do is try to go all dark and weird like Return to Ozz and Johnny Depp's Willy Wonka remake. I think you'll enjoy it if you liked the original, it's in the same spirit although bits of Harry Potter creep in in some parts.
 
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Mary Poppins Returns

This should be terrible but it's instead amazing ..

40 plus years later, everyone's favourite plum English speaking Nanny is back, played this time by Emily Blunt .. you'll struggle to spot any difference between hers and Julie Andrews voice, Emily's portrayal is also spot on, Mary Poppins again lands during a wind storm with her nose snootily in the air still looking practically perfect in every way, the music as well as the 60's style ink animation for the surreal sequences are also amazingly consistent with the original. The film's score is also from a different time (think 'Down With Love') .. I could have done without Meryl Streep briefly being in it, Colin Firth and Julie Walters are as well although they don't try to steal their scenes so have a bit more respect for the source material.

Mary Poppins is back after the original brother and sister from the first film find themselves in financial trouble, they're trying to raise his kids, his son George flies a kite during a storm and Mary Poppins is able to travel down the string to again start to look after the family. It's way better than it sounds and doesn't feel at all contrived.

Mary Poppins Returns: A couple of nice musical numbers but nothing which really compares to original's classics. Still we get synchronised dancing by Lamplighters rather than Chimney-sweeps and in one great scene Mary Poppins leads a veritable army of bicycle borne Lamplighters. Some good animated sequences including a talking Irish Setter jarvey.

Colin Firth plays a villainous banker who is intent on grabbing the Banks family home to boost his bank's profits. Emily Blunt makes a wonderful Mary Poppins, leading the children on incredible adventures undersea though a bath and into the animated world of a Royal Doulton bowl. A commendable sequel. 8/10
 

GNC

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The 12th Man: story of a Norwegian WW2 hero told as one of those survival films (think All is Lost, The Revenant, Tracks, etc) where the lead undergoes all sorts of terrible sufferings in the wild, though this one is true. Quite engrossing, a bit long but with a curious and unexpected sense of humour. Not bad at all.
 
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Colette: Paris 1893, provincial girl Colette (Keira Knightley) is married to Willy (Dominic West) who is a literary entrepreneur, hiring ghost writers to pen his reviews, articles and novels. His womanising also disturbs Colette who does not accept that this how things are in Paris. At first she does not take to Salon life with jewel encrusted tortoises, snake handling and a proto-Dadaist pouring milk into a piano. Willy's chaotic spending bankrupts the couple and seeking a new source of income he gets Colette to write a novel about her younger days. It is wildly successful as are it's sequels but they are all published under his name and Colette yearns for recognition as the author and just a muse.

The film portrays Colette's love for nature and how she came to appreciate city life which despite the restrictions placed on women gave her a freedom unthinkable on the provinces. She adapts to Salon Life and meets the great Mimre artist Georges Wague (Dickie Beau) when he is acting alongside Lotte Kinceler (Virág Bárány) as she sings Down By The Sally Gardens. Colette goes on to study and traIn with Wague and gains her independence by working as an actor and a mime.

Her life was far from idyllic as in her first production she acted alongside Missy (Denise Gough) who now dresses as and identifies as a man. Missy's former husband and his cronies violently disrupt the show and it closes, once again bankrupting Colette and Willy. Colette has moved on from being a rural girl with limited horizons, she has already shared Georgie (Elanor Tomlinson) as a lover with Willy, who by this tage seeks younger lovers who dress as the teenage Colette.

A film of manners, of the fight for independence and recognition and for the acceptance of differing forms of love. Great performances by Knightley, Gough and West. Director Wash Westmoreland who co-wrote the screenplay delivers a masterly portrait of Fin de Siecle Paris. 8.5/10.
 

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The Kid Who Would Be King looks like good fun, even if it is a kids movie ..

 

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Standoff (2016)

A young girl witnesses a mob hit and flees the assassin. She finds an isolated farmhouse, owned by a grieving, drunk ex-soldier. The result is a cat and mouse game between the assassin played by Lawrence Fishburne and the soldier played by Thomas Jane.

This got panned by critics yet it includes two very fine performances from Fishburne and Jane. They seem to have a great time yelling insults at each other. The girl, (Ela Ballentine), isn't too shabby either.

7 out of 10.

https://en.wikipedia.org/wiki/Standoff_(film)
 
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The trailer to this film's arrived at last ..

Stan & Ollie: In 1953 when Laurel and Hardy arrived in Cobh to begin their tour of Ireland and Britain they were overwhelmed by the reception they received: hundreds of boats blew whistles and foghorns, thousands lined the docks, the bells of St Colman's Cathedral played the Laurel and Hardy theme, The Cuckoo Song. This film has the duo arriving in Britain first where things were not quite as bright, early performances had poor attendances and they had resort to publicity stunts to whip up attention. The once famous act was down in the world and they stayed in third rate hotels until the houses improved but ended up in the Savoy Hotel by the time they arrived in London.

This is the story of an act in it's twilight tears, when Hardy's (John C. Reilly) health and gambling problems was taking a toll on the partnership. But Laurel's (Steve Coogan) is unable to accept that the glory days are over and continues with the forlorn hope of making a new film, he also holds a grudge against Hardy stretching back sixteen years. Flashbacks to 1937 when they were at the peak of their fame show Laurel's impatience to make independent films and Hardy'd need for a regular income leading to decisions, Hardy went on to make a film without Laurel as he was still under contract.

Great performances by Reilly and Coogan aided and abetted by Shirley Henderson as Lucy Hardy and Nina Arianda as Ida Kitaeva Laurel, with a great turn by Rufus Jones as Bernard Delfont, as their sleazy English agent. Director Jon S. Baird with a screenplay by Jeff Pope delivers a poignant memoir of a short period in the sunset days of Stan and Laurel with some great set-pieces double act's favourite routines. Including of course On The Trail Of The Lonesome Pine. 8.5/10.
 
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GNC

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Everyone says it's a lovely film, but I'm not sure I want to see Stan and Ollie fighting and arguing for real.
 
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Everyone says it's a lovely film, but I'm not sure I want to see Stan and Ollie fighting and arguing for real.
But they're not fighting all of the time, there's a great scene when they're booking into a hotel and they put on one of their routines, Ollie with one small case, Stan with the rest of the luggage.
 

GNC

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But they're not fighting all of the time, there's a great scene when they're booking into a hotel and they put on one of their routines, Ollie with one small case, Stan with the rest of the luggage.
OK, I might give it a go, though it might remind me of when Little and Large did their Stan and Ollie impressions.
 
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