Non-Fortean Films

Yithian

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I've just finished watching William Friedkin's Sorcerer (1977) for the first time.

I was actually quite familiar with the excellent Tangerine Dream soundtrack, but having neither read the source material, Le Salaire de la peur by Georges Arnaud, nor seen Henri-Georges Clouzot's earlier adaptation The Wages of Fear (1953), I was one of the many people who misunderstood the genre of the film owing to the title. That wasn't the only reason why I didn't watch it sooner, but I suppose I was broadly thinking that if there was a classic supernatural film to be seen, I would have heard more about it (that being a favoured genre).

I wish I'd watched this years earlier: stunning film--instantly into my personal top ten.

The story was tortuous yet inexorable, the characters not so much driving the plot as being subjected to it: the exacting mechanisms of fate on mortal men set to attempt a journey through purgatory to redemption and death.

Much of interest to French existentialists and Joseph Conrad readers! Hitchcockian levels of nerve-racking suspense!

Prepare to see a lot of sweat and grease!

Pay close attention to the French 'vignette', which along with the image beneath offers a key to some of the deeper themes.

Totem-Sorcerer.jpg


I was minded throughout of this from Heart of Darkness:

Imagine a blindfolded man set to drive a van over a bad road. I sweated and shivered over that business considerably, I can tell you. After all, for a seaman, to scrape the bottom of the thing that's supposed to float all the time under his care is the unpardonable sin.
 

GNC

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Sorcerer committed the double sin of opening at the same time as Star Wars and remaking an acknowledged classic. It was regarded like someone remaking Schindler's List or something.

But damn, it's a fantastic movie, in fact it may be a little better than the Clouzot because it tightens up the plot so well. Roy Scheider is terrific (I miss him). The rope bridge sequence is stunning. But a cult movie it remains.
 

Bigphoot2

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Sorcerer committed the double sin of opening at the same time as Star Wars and remaking an acknowledged classic. It was regarded like someone remaking Schindler's List or something.

But damn, it's a fantastic movie, in fact it may be a little better than the Clouzot because it tightens up the plot so well. Roy Scheider is terrific (I miss him). The rope bridge sequence is stunning. But a cult movie it remains.
Apparently, Steve McQueen was the original choice for the movie but he wanted the script rewritten so that Ali McGraw would have a role in it.
There's a documentary on Prime - Friedkin Uncut where he talks about his career. He's quite a character.
 

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The film voted least likely to win any academy awards must be Jackass 4

 

ramonmercado

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Copshop: We've had sieges of police stations before but his film has some original angles. Teddy (Frank Grillo) punches cop Alexis (Valerie Young) to get himself arrested, he fleeing from hitmen. But one of the killers, Bob (Gerald Butler) feigns drunkenness to end up in the same lock-up. An interesting station, comedians, slackers even a corrupt cop. Actually corrupt cops are everywhere in this film. Things get even more interesting for Teddy, Bob and Alexis as a rival hitman, Anthony (Toby Huss) arrives at the copshop, Anthony is truly psychotic, carrying a Bugs Bunny Balloon and sounding like Foghorn Leghorn. An internal siege develops with cells, narrow passages and an open pln squad roo becoming the battleground. Some savage violence and indiscriminate killing though this is leavened by by a streak of dark humour throughout Copshop. The tension is maintained and the film has a touch of early Tarantino about it, especially the dialogue. An intriguing thriller. Directed/Co-Written by Joe Carnahan. 8/10.
 

blessmycottonsocks

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Just watched French 2020 thriller BAC Nord (English title "Stronghold").
Based on real events in Western Europe's murder capital Marseille, it is a thoroughly compelling exposé of the impossible task faced by a beleaguered police force trying to contain an explosion of violent criminality.

The cops fight fire with fire and bend the rules to get results, but get dumped in la merde by a hypocritical boss and the holier-than-thou authorities.

Extremely brutal and utterly compelling.

Currently streaming on Netflix.
 

skinny

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Copshop: We've had sieges of police stations before but his film has some original angles. Teddy (Frank Grillo) punches cop Alexis (Valerie Young) to get himself arrested, he fleeing from hitmen. But one of the killers, Bob (Gerald Butler) feigns drunkenness to end up in the same lock-up.
That is straight out of Fargo season 1. Plagues.
 

hunck

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@ramonmercado Copying this here from Argentina thread as it should be in films.

Azor: Argentina, 1980, the height of Junta's dirty war, Yvan (Fabrizio Rongione) is a private banker from Geneva who travels to the country after his banks representative there, Rene, has disappeared. He makes a journey into the heart of the darkness as he meets with his bank's clients or perhaps it's a descent into the circles of Hell as his driver's name is Dante. We witness corruption but also fear on the part of Yvan's upper class clients, the kleptocratic wing of the Junta is even seizing property belonging to the super rich, they are anxious to send money abroad. Even a big rancher cannot save his daughter who had leftist sympathies. The sense of evil is palpable and the tension builds as Yvan follows Rene's trail. A taut political thriller. Directed by Andreas Fontana from a screenplay by Albert Dupontel and Mariano Llinás. 9/10.
Saw this tonight & loved it. The antithesis of an action film but great story telling. Nothing is spelt out but inferences made & it unfolds at quite a slow pace as it develops & we gradually find out more about the bank’s high level clients & likely corrupt/criminal dealings. Things were going well but conditions have changed, clients are worried & the man responsible has vanished. The sense of menace grows as it goes on.

Excellent but understated performances from the whole cast. 9/10 for me as well. Subtitles.
 

ramonmercado

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@ramonmercado Copying this here from Argentina thread as it should be in films.


Saw this tonight & loved it. The antithesis of an action film but great story telling. Nothing is spelt out but inferences made & it unfolds at quite a slow pace as it develops & we gradually find out more about the bank’s high level clients & likely corrupt/criminal dealings. Things were going well but conditions have changed, clients are worried & the man responsible has vanished. The sense of menace grows as it goes on.

Excellent but understated performances from the whole cast. 9/10 for me as well. Subtitles.

Yes it belongs in films but it also belongs in the Argentina Thread where there are posts about the time of the military junta which give context to the film.
 

hunck

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Yes it belongs in films but it also belongs in the Argentina Thread where there are posts about the time of the military junta which give context to the film.
Yeah I didn’t mean it was in the wrong thread, just that it should be here as well. It’s a great film.
 

GNC

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Sly's recut Rocky IV:

It's more serious now. NO! The appeal of Rocky IV is that it's ridiculously gung-ho! He's even cut out the robot! "HAPPYBIRTHDAYPAULIE" no more! I want to see Rocky fighting the robot!
 

ramonmercado

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Black 47: George Bernard Shaw referred to the Famine as "the great starvation" rather than "the great hunger" because food was being exported from Ireland in 1847. This fact causes an existential crisis for a young British soldier (Barry Keoghan) who cannot countenance the idea of people starving to death while soldiers and police guard foodstuffs bound for export. In this bleak film directed by Lance Daly the camera pans across the desolate landscape of Connemara, stoney fields and hills, with the sick, dead and starving Irish by the side of trails, living in makeshift shelters after being evicted. Cinematographer Declan Quinn captures these outdoor scenes with a washed out filter and indoor dark lit by flickering lights. Never before has a guttering candle been used to such effect.

Martin Feeney (James Frencheville) has deserted from the Connaught Rangers in Afghanistan, returning to his home he finds the roof is gone and a pig is stabled in the ruins by a rent collector. His mother has died of the fever and his brother was hanged for stabbing a bailiff. Coming across an eviction of some of his relatives he intervenes and is arrested by the Irish Constabulary. They think he is an ordinary soldier but he had survived for years fighting Afghan warriors. He overpowers a guard, arms himself and in the ensuing fight kills six constables and escapes.

Hannah (Hugo Weaving) is a police inspector who killed a well connected prisoner during interrogation; however he had served with Feeney in Afghanistan and is now offered a pardon if he will track him down. He is accompanied by an arrogant English Captain (Freddie Fox) on the journey to Connemara. There they are joined by Keoghan and set off on horseback. They soon find a judge hanging from his chambers window, despatched by Feeney. Further on they find the rent collector decapitated, his head replaced by that of a pig and his own head on a stake in the ruined Feeney family home. Feeney is out to kill all of those who played a part in the deaths of his family.

This film is really a revenge Western set to the background of the Famine. But it very much in the mode of Australian Westerns with constables in pursuit accompanied by native collaborators. Conneely is an interpreter for the posse but is very much an enigmatic character, a raconteur who hopes to get the makings of a great story and a song to retell. Hannah also has mixed feelings about his task, Feeney had saved his life in Afghanistan. Perhaps the only cardboard character in this film is Fox who comes across as a sneering toff officer. Even Jim Broadbent who plays the Landlord has a more rounded back story.

While Feeney at times comes across as a 19th Century John Wicks the drama is believable as he is driven by a thirst not just for revenge but for justice. This particular story might not have happened but it could/should have. Feeney is the Archetype that flowered in Tom Barry and Dan Breen. This is truly a 19th Century Wind That Shakes The Barley.
A powerful tale with many scenes which will scald your heart and some extremely violent episodes. 9/10

Arracht: 1845, the potato blight is on the way, it has a distinctive smell. Colmán (Dónall Ó Héalaí) is a tenant farmer, a fisherman, a poiín distiller, a folk healer. The sight of a Galway hooker boat with it's red sail, small isles in the background the sun on the sea; building a stone wall, always plenty of stones in the fields of Connemara. Drinking the poitín, Colman avoids it, eating the mackerel and potatoes. But a dark is approaching, not just the potato blight but the landlord wants to increase the rent. Patsy (Dara Devaney) a deserter from the navy has a run in with bailiff when he comes to Colmán's house. Colmán goes to the landlord in an attempt to persuade him to lower the rents, bringing Patsy with him to apologise to the bailiff. The landlord is unmoved but mayhem results when Patsy reveals his dark side.

We see the result of the Great Famine, Colmán's family are dead, many perish from disease as well as from starvation, a pestilence and a blight are upon the land. Colmán has been in hiding for two years on the islet where he kept his poitín still. Some great shots of the narrow inlet leading to Colmán's cave where he hears the voices of his dead wife and son. Venturing to the mainland occasionally, helping with his folk medicines he meets a young girl, Kitty (Saise Ní Chuinn), who he nurses back to heath. Their developing father/daughter relationship fills out the second half of the film. But there are a few plot twists and the narrative is infused with dark events. People who are hungry will act abnormally, the true horror of the Famine is illustrated through this and the sporadic finding of bodies by Colmán, these were all locals he knew. The Great Famine didn't just happen: it was imposed upon the people. Great performances by Ó Héalaí, Devaney and especially by Saise Ní Chuinn. Directed and written by Tomás Ó Súilleabháin. In Irish with English subtitles. 9/10.

In Cinemas.
 

blessmycottonsocks

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Misty Button (2019)

Just watched this on its Sky premier.

Irish ex-pat ne'er do wells in New York, desperate for money, agree to place $10,000 on an outsider in a fixed horse race, but pocket the money instead, thereby incurring the wrath of local gangsters.
It tries oh so hard to be a paddywackery version of Lock Stock and Two Smoking Barrels but, despite a couple of blackly comic moments, I found it pretty dull, with far too much talk and not enough action.
The big twist was rather telegraphed too and came as no surprise to me.
At 93 minutes, it felt far longer.
4/10 in my book.
 

Swifty

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This looks good ..

"A friend just brought "Heavy Trip" (2018) over ... the best Finnish Metalhead comedy in the history of Finnish Metalhead comedies
1f604.png

I figure any movie about a band named "Impaled Rektum" qualifies as strange ...
Worth checking out!"

arectum001.jpg

arectum002.jpg


 
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GNC

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Heavy Trip is quite good fun, more fun than the death metal church burning movie that I get it mixed up with in my head, anyway.
 

Victory

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First trip to cinema in over two years.
(Readers on an other thraed will know I have put this off because of Covid risk, tonight I went to a small private cinema with just five other people.)

Saw Ghostbusters: Afterlife.

It's not as much fun as the original, because that one was original.

But it's the type of film you could easily watch on a plane to while away the time -
though with a very flaccid script and minimal cast (to save money?),

but

More "occult" than the original (Exorcist influenced Sumerian backstory?), visually impressive and fairly daft ...
pretty much what I wanted to see after a tough few days at work.


download-1.jpg
 

blessmycottonsocks

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Thoroughly enjoyed Danish 2020 thriller Riders of Justice (Retfærdighedens Ryttere) on Sky last night.

Mads Mikkelsen is the nihilistic army veteran, whose wife is killed in an apparent train accident - or was it?
Mikkelsen, with a little help from some decidedly oddball helpers, comes to the conclusion that it was the engineered murder of a key witness in a trial featuring a biker gang and decides to take the law into his own hands.
What could have been an ultra-violent, dour Death-Wish kind of movie is saved by tapping into a very rich vein of black humour. Nikolaj Lie Kaas (of Britannia fame) is superb as a brilliant but terminally geeky and obsessive statistician.
Lots of twists and a clever exploration of chaos theory's butterfly effect.

A solid 8/10 for me.

riders.JPG
 

GNC

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First trip to cinema in over two years.
(Readers on an other thraed will know I have put this off because of Covid risk, tonight I went to a small private cinema with just five other people.)

Saw Ghostbusters: Afterlife.

It's not as much fun as the original, because that one was original.

But it's the type of film you could easily watch on a plane to while away the time -
though with a very flaccid script and minimal cast (to save money?),

but

More "occult" than the original (Exorcist influenced Sumerian backstory?), visually impressive and fairly daft ...
pretty much what I wanted to see after a tough few days at work.


View attachment 48501

Wasn't it made under Covid restrictions? Could explain the shonkiness you detected. Jason Reitman's best film is Young Adult, and I'm not getting the same vibes from Ghostbusters: Afterlife, to say the least.
 

GNC

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Thoroughly enjoyed Danish 2020 thriller Riders of Justice (Retfærdighedens Ryttere) on Sky last night.

Mads Mikkelsen is the nihilistic army veteran, whose wife is killed in an apparent train accident - or was it?
Mikkelsen, with a little help from some decidedly oddball helpers, comes to the conclusion that it was the engineered murder of a key witness in a trial featuring a biker gang and decides to take the law into his own hands.
What could have been an ultra-violent, dour Death-Wish kind of movie is saved by tapping into a very rich vein of black humour. Nikolaj Lie Kaas (of Britannia fame) is superb as a brilliant but terminally geeky and obsessive statistician.
Lots of twists and a clever exploration of chaos theory's butterfly effect.

A solid 8/10 for me.

View attachment 48522

That's a fantastic film! It never goes the way you expect, but it's still an action thriller (kind of). Really funny too, but poignant. Another Round is another great Danish movie recently.
 

Victory

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Wasn't it made under Covid restrictions? Could explain the shonkiness you detected. Jason Reitman's best film is Young Adult, and I'm not getting the same vibes from Ghostbusters: Afterlife, to say the least.
That would explain a fair bit.
Far fewer extras in street scenes than normal, even considering some of it is set in a small town.
Easier to manage less actors who might have been in "bubble" for the duration of filming.
 

CarlosTheDJ

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I found out recently that it's much cheaper to employ extras for crowds and streets than it is to CGI them. So that could well be right.
 

ramonmercado

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House of Gucci trailer:

Before you express surprise that Jeffrey Tambor has a job again - that's Jared Leto. Because apparently there's a drought of ordinary looking bald men in Hollywood, so they had to get a handsome one and bury him under makeup.

House of Gucci: Patrizia Reggiani (Lady Gaga) wasn't solely responsible for the fall of the House of Gucci but she certainly helped. Like a force of nature she hooks Maurizio Gucci (Adam Driver) when Maurizio's father Rodolfo (Jeremy Irons) disowns him she wins over the uncle, Aldo (Al Pacino). When Maurizio is reconciled with the dying Rodolfo and inherits his shares in Gucci she turns on Aldo and his hapless son Paolo (Jared Leto). Forging signatures on share certificates results in police attention, When Maurizio tires of her she decides to remove him from the equation. Wonderful settings in Milan and the Italian countryside, palatial villas and apartments. Gaga is a convincing conniver as Patrizia whose low cunning is just not good enough in the end to conquer all. Salma Hayek is the mysterious medium Giuseppina Auriemma, Patrizia's confidante, consigliere and co-conspirator, when her spells don't work on Maurizio she turns to Sicilian contacts. The Guccis (both young and old) though were tax-dodgers and spendaholics who would have eventually brought down their business through their own antics. The third generation, Maurizio being a good frontman but not a manager; Paolo inept but full of delusions of his own artistic abilities; could endure the attentions of neither Patrizia nor investment funds. Thus are the chronicles of The Fall Of The House Of Gucci, a serious comedy thriller. Directed by Ridley Scott from a screenplay by Becky Johnston and Roberto Bentivegna. 8/10.

In cinemas.
 

GNC

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House of Gucci: Patrizia Reggiani (Lady Gaga) wasn't solely responsible for the fall of the House of Gucci but she certainly helped. Like a force of nature she hooks Maurizio Gucci (Adam Driver) when Maurizio's father Rodolfo (Jeremy Irons) disowns him she wins over the uncle, Aldo (Al Pacino). When Maurizio is reconciled with the dying Rodolfo and inherits his shares in Gucci she turns on Aldo and his hapless son Paolo (Jared Leto). Forging signatures on share certificates results in police attention, When Maurizio tires of her she decides to remove him from the equation. Wonderful settings in Milan and the Italian countryside, palatial villas and apartments. Gaga is a convincing conniver as Patrizia whose low cunning is just not good enough in the end to conquer all. Salma Hayek is the mysterious medium Giuseppina Auriemma, Patrizia's confidante, consigliere and co-conspirator, when her spells don't work on Maurizio she turns to Sicilian contacts. The Guccis (both young and old) though were tax-dodgers and spendaholics who would have eventually brought down their business through their own antics. The third generation, Maurizio being a good frontman but not a manager; Paolo inept but full of delusions of his own artistic abilities; could endure the attentions of neither Patrizia nor investment funds. Thus are the chronicles of The Fall Of The House Of Gucci, a serious comedy thriller. Directed by Ridley Scott from a screenplay by Becky Johnston and Roberto Bentivegna. 8/10.

In cinemas.

Seems to be doing fine at the box office, too, so Ridley doesn't have to (figuratively) punch anybody this time.
 

ramonmercado

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House of Gucci: Patrizia Reggiani (Lady Gaga) wasn't solely responsible for the fall of the House of Gucci but she certainly helped. Like a force of nature she hooks Maurizio Gucci (Adam Driver) when Maurizio's father Rodolfo (Jeremy Irons) disowns him she wins over the uncle, Aldo (Al Pacino). When Maurizio is reconciled with the dying Rodolfo and inherits his shares in Gucci she turns on Aldo and his hapless son Paolo (Jared Leto). Forging signatures on share certificates results in police attention, When Maurizio tires of her she decides to remove him from the equation. Wonderful settings in Milan and the Italian countryside, palatial villas and apartments. Gaga is a convincing conniver as Patrizia whose low cunning is just not good enough in the end to conquer all. Salma Hayek is the mysterious medium Giuseppina Auriemma, Patrizia's confidante, consigliere and co-conspirator, when her spells don't work on Maurizio she turns to Sicilian contacts. The Guccis (both young and old) though were tax-dodgers and spendaholics who would have eventually brought down their business through their own antics. The third generation, Maurizio being a good frontman but not a manager; Paolo inept but full of delusions of his own artistic abilities; could endure the attentions of neither Patrizia nor investment funds. Thus are the chronicles of The Fall Of The House Of Gucci, a serious comedy thriller. Directed by Ridley Scott from a screenplay by Becky Johnston and Roberto Bentivegna. 8/10.

In cinemas.

The Guccis are not amused

The heirs of Italian fashion house Gucci have criticised a new film for allegedly depicting members of the family as "hooligans".

House of Gucci stars Lady Gaga as Patrizia Reggiani, who was convicted of having her former husband, fashion heir Maurizio Gucci, assassinated in 1995.

The family has taken aim at the film in a letter published by Italy's ANSA news agency. Director Ridley Scott has been contacted for comment.

In their statement, the family said they were portrayed as "ignorant" in the film, which stars Adam Driver as Maurizio Gucci alongside Jared Leto and Al Pacino as other members of the family.

"The Gucci family reserve the right to take every initiative to protect their name and image, and those of their loved ones," the letter read. They added that Aldo Gucci (played by Pacino), who was company chairman from 1953 to 1986, and other relatives were portrayed "as thugs, ignorant and insensitive to the world around them, attributing to the protagonists [and] events, a tone and an attitude that never belonged to them. This is extremely painful from a human point of view and an insult to the legacy on which the brand is built today." ...

Scott, speaking on BBC Radio 4 last week, dismissed previous criticism made by Patrizia Gucci, Maurizio's second cousin, when she recently spoke to the Associated Press on behalf of the family. She accused the director of "stealing the identity of a family to make a profit".

"I don't engage with that," Scott told the Today programme. "You have to remember that one Gucci was murdered and another [Aldo] went to jail for tax evasion, so you can't be talking to me about making a profit. As soon as you do that you become part of the public domain." ...

https://www.bbc.com/news/entertainment-arts-59473981
 
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