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maian
Carnival of Souls (1962)

Creepy, eerie psychological thriller in which a young woman (Candace Hillgloss) survives a car crash in which several of her friends died and decides to leave town. When she arrives at her new home and job as a church organist, she starts to suffer from spells in which she feels distant and separate from the world and believes that there is a strange ghoulish figure (director Herk Harvey) following her around.

The plot is pretty standard, but what marks the film out is its mood and atmosphere. It was made for very little money so all of its scares come from the sense of creeping unease that grows as the film progresses, as well as the genuinely striking imagery that Harvey, a documentary film-maker for whom this was his only venture into fiction, employs.

A little bit creeky and cheesy in places, but an effective and, for its time, inventive chiller.
Zoe
Buried (20010)

Have you seen 'Right at your Door'? It's like that. Even the credits.

Did you like it? I did, and I liked 'Buried' too.

Ryan Reynolds rocks my world.
dandan
QUOTE (Zoe @ Mar 9 2011, 11:42 PM) *
Buried (20010)


the future of film?
logger
QUOTE (dandan @ Mar 10 2011, 04:22 PM) *
the future of film?

Nope, this is.

Either way, it makes me sad. I don't think I'd like Buried.
Rebus
QUOTE (logger @ Mar 11 2011, 05:33 AM) *



QUOTE
“We’re aiming to make a four-quadrant, family-friendly film somewhere in that Night At The Museum, Elf sweet spot,” Glassgold says.


This is the most ridiculous sentence I've read so far this year.
maian
The Losers (2010)

Fun, undemanding action fluff boasting a great cast with great chemistry but a very, very weak ending. They clearly had sequel plans in mind which will not come to pass, so as a single work it winds up being pretty unsatisfying. Up until that point, though, it is good fun, largely thanks to the effortless charisma of Chris Evans, effortless sexiness of Zoe Saldana, and effortless charm of Jeffrey Dean Morgan. Basically, it gets by on the fact that its cast are all really good at the one thing that the film requires of them, which is perfectly fine by me.

Buried (2010)

Fucking great. Intense, claustrophobic and uncomfortable, I admired its commitment to its central conceit, never moving outside the confines of the coffin and relying on the restrictions of the space and Ryan Reynold's performance to generate tension as he realises why he has been trapped inside a coffin and tries to get out. I really, really enjoyed it but I don't think it'll be to everyone's taste.

Piranha 3D (in 2D) (2010)

Probably one of the most honest films ever made. It is wanton, lustily, unshamedly sleazy, exploitative trash and I enjoyed its shamelessness immensely. The first half an hour or so was a nicely vacuous depiction of the airheaded party culture of spring break, so by the time that the piranhas started tearing people apart I was just waiting for all the unlikeable pricks to get theirs. And, oh, the gore. So much ridiculous, gratuitous gore. Bouyed by some game performers - particularly Jerry O'Connell as the Joe Francis-style pornographer, whose last words of "Wet T-shirt contest...Wet T-shirt contest" are truly heartbreaking, the whole experience is deliriously over the top and daft. Lots of fun.
Zoe
It was better in 3D 3D willy!
Serafina_Pekkala
QUOTE (maian @ Mar 10 2011, 10:21 PM) *
Jeffrey Dean Morgan.


I like him. A better version of RDJ without all the annoying habits.

I think I should see those films.
logger
QUOTE (Zoe @ Mar 11 2011, 01:34 PM) *
It was better in 3D 3D willy!

Boo, 3D Kelly Brook
Zoe
3D severed willy!

Maybe my biggest laugh in the cinema all year
maian
QUOTE (Zoe @ Mar 11 2011, 01:34 PM) *
It was better in 3D 3D willy!

I can imagine that it really popped out of the screen.
Zoe
Oh so much fun.

AHHHHH! THAT REALLY HURTS! Ouch! It stings! [/O'Connell]
mcraigclark
Hot Tub Time Machine

Ridiculous and fun.
bigfatrich
QUOTE (Rebus @ Mar 10 2011, 09:58 PM) *
This is the most ridiculous sentence I've read so far this year.

Glad it's not just me. What utter nonsense.
Kick in the Head
QUOTE (maian @ Mar 9 2011, 10:10 AM) *
Carnival of Souls (1962)

Creepy, eerie psychological thriller in which a young woman (Candace Hillgloss) survives a car crash in which several of her friends died and decides to leave town. When she arrives at her new home and job as a church organist, she starts to suffer from spells in which she feels distant and separate from the world and believes that there is a strange ghoulish figure (director Herk Harvey) following her around.

The plot is pretty standard, but what marks the film out is its mood and atmosphere. It was made for very little money so all of its scares come from the sense of creeping unease that grows as the film progresses, as well as the genuinely striking imagery that Harvey, a documentary film-maker for whom this was his only venture into fiction, employs.

A little bit creeky and cheesy in places, but an effective and, for its time, inventive chiller.


I really loved all the oddball supporting characters and zingy dialogue - it felt very ahead of its time.
maian
I remember reading somewhere that David Lynch cited it as a favourite of his and the supporting characters certainly felt very Lynchian. The guy who keeps trying to get her to go out with him, in particular, had a peculiar mixture of charm and menace that reminded me of Frank Booth. The non-psychiatrist who nonetheless offers her psychiatric help also seemed to fit that mold.
maian
Wrong thread.
maian
Damn, can't edit the previous post! Unwanted triple post:

Perfect Blue (1997)

Debut feature from the anime director Satoshi Kon who sadly passed away last year at the age of 46. Mima is a pop star who decides to leave the mildly successful pop group she is a member of in order to pursue a career as an actress. As she is required to move further away from her previous image as a squeaky clean pop star towards more adult roles, she starts to have vivid dreams in which she is taunted by the past version of herself which apparently seems to be posting on a website dedicated to her and communicating with a stalker who views the new Mima as an imposter.

Blending a De Palma-esque psycho-sexual thriller with a fevered examination of the blurry line between reality and fantasy, art and artist, Perfect Blue is a pretty heady endeavour that uses the limitless possibilities of animation to stunning effect. Kon creates multiple realities that constantly shift, leaving the audience forever sure what is real, what is a fantasy and what is merely a role that Mima is playing, often transitioning from one to another at a moment's notice. He loses control of the film a little in the final reel, moving from ambiguous to confusing, but it's still entertaining and compelling thanks to the solid murder-mystery plot upon which he hangs his visual extravagances. It's very easy to see how this film led into Millennium Actress and Paprika, both of which deal with similar ideas of reality and fantasy and which I would say are better, more assured efforts, but its rawness is part and parcel of an artist developing his own voice and style, both of which were very much in evidence so early in Kon's career.

A dazzling piece of work that marked the start of a career that burned brightly for far too short a time.
maian
Hard Target

Not the greatest English-language debut for an international film-maker, especially not one as great as John Woo was at the time, but a dumb Jean-Claude Van Damme movie that was fun to watch with a couple of friends.

The Other Guys

The second time through and I enjoyed it about as much as the first time, which is "a bit". This time the joke that made me laugh the most was Will Ferrell's delivery of the line "you learned to dance like that sarcastically?"
sweetbutinsane
Due Date

Enjoyed it muchly.
maian
Yes, someone else watched a film! I was afraid that I was going to have a quintuple post on my hands.

I saw Norwegian Wood and wrote about it here. In short; there are a lot of aspects of it which are very good, but they don't work together well enough or often enough to make a film which is anything other than okay.
PrincessKate
I watched Bugsy Malone. We decided that Blousey is a stuck up, selfish cow, Dandy Dan was best, and it's sad that Scott Baio peaked at fourteen and never recovered. Also that the singalong option is largely redundant. It's still ace, though.
There was also a glorious moment when I remembered the 'Get Babyface' sequence, which I'd completely forgotten about.
NiteFall
QUOTE (maian @ Mar 13 2011, 01:43 PM) *
The Other Guys

The second time through and I enjoyed it about as much as the first time, which is "a bit". This time the joke that made me laugh the most was Will Ferrell's delivery of the line "you learned to dance like that sarcastically?"


The sequence where Steve Coogan's character keeps bribing them is probably my favourite bit of the film.
maian
I like his interaction with them when they are being chased by the Nigerians and the Chechnens at the end. I particularly liked "You're hair is so soft!" "Pro-Vitamin hot oils!"
Zoe
QUOTE (NiteFall @ Mar 13 2011, 11:16 PM) *
The sequence where Steve Coogan's character keeps bribing them is probably my favourite bit of the film.


Completely hilarious.

As was the film. It's so refreshing to watch a comedy that has consistently big laughs throughout.

The End of the Affair (1999)

Ok, so I mainly rented it because the mid to late-nineties are the peak of Fiennes-hotness, but it was still a very interesting film. It wasn't what I was expecting, and what starts as an English Patient style period infidelity romp, turns into a meditation on religion. Ian Hart is the real stand-out, and it reminded me how wonderful he is and made me wonder why he isn't more famous. 'Backbeat' and 'This Year's Love' spring to mind, but he really is incredibly versatile.

When will buttoned up married men learn not to leave their wives alone with Ralph Fiennes?

The Crazies (2010)

Gave up after 40 minutes. Utter snooze-fest trying to repeat the successful formula of the DOTD remake (down to the Johnny Cash opening). I couldn't bear to watch another film where people ignore quarantine for a loved one (see '28 Weeks Later').

'Morning Glory' (2010)

Entertaining. Daybreak producers take note.

'Tron Legacy' (2010)

30 minutes in I was saying "I can't understand why people didn't like this!". By the end, I knew. It has absolutely no internal logic whatsoever. Baffling.




logger
QUOTE (NiteFall @ Mar 13 2011, 10:16 PM) *
The sequence where Steve Coogan's character keeps bribing them is probably my favourite bit of the film.

I just liked that they kept getting their shoes stolen.
blackcherry
I watched the new Brighton Rock on Saturday and thoroughly enjoyed it. I thought it stayed very true to the story despite a few alterations. Sam Riley was spot on as Pinkie and I liked the actress who played Rose as well.
dandan
i've been re-watching a bunch of stuff...

red - ace
operation condor - ace
a room for romeo brass - ace
ptu - ace
the mission - ace

woo!
Serafina_Pekkala
QUOTE (Zoe @ Mar 13 2011, 11:48 PM) *
Completely hilarious.

As was the film. It's so refreshing to watch a comedy that has consistently big laughs throughout.

The End of the Affair (1999)

Ok, so I mainly rented it because the mid to late-nineties are the peak of Fiennes-hotness, but it was still a very interesting film. It wasn't what I was expecting, and what starts as an English Patient style period infidelity romp, turns into a meditation on religion. Ian Hart is the real stand-out, and it reminded me how wonderful he is and made me wonder why he isn't more famous. 'Backbeat' and 'This Year's Love' spring to mind, but he really is incredibly versatile.

When will buttoned up married men learn not to leave their wives alone with Ralph Fiennes?


Fiennes is so utterly perfect as whiny obsessive Maurice and Julianne is very convincing as Sarah. Overall - it's a great adaption of Green and one of my favourites. And I love Ian Hart. Nobody has ever beat him playing Lennon. Nobody.

Anonyma - A Woman in Berlin
Based on a real life controversial diary (once banned from publication) - this is the story of an educated woman forced to survive during the downfall of Berlin in Spring 1945. The soundtrack by Zbigniew Preisner creates immense atmosphere. Basically the film details some of the horrific circumstances which forced many ordinary German women into becoming 'comfort women' for the Red Army - some willing but mostly, not at all. Countless rapes and assaults took place to women of all ages - and this problem lingers to this day as many modern Berliners are the children of such unions. A forgotten part of history as it where.

After her husband leaves for the front (my favourite German actor, August Diehl) - the nameless woman (played beautifully by Nina Hoss) supports to war with fervour. This is the weakest part of the story as her personal political allegiances are not confronted and a bit of a cop-out IMO. Other parts of the story work a lot better - the friendships and alliances she creates with neighbours and her interaction with the Soviets. Particularly - her believable affair with Andreijj, a Russian Major (Evgeniy Sidikhin). The multi-national ensemble cast work very well with each other too - portraying the divides and the comradeship with skill. The violence is not soft-peddled either or sentimental - it is handled delicately.

Another film springs to mind - Soderberg's very weak The Good American as it deals with the same time and doesn't do half as well. In comparison - George Clooney is wooden and Cate Blanchette a cartoon character (as she often is).
Sostie
[rec]2
Continues directly from the first film. This time we follow a small SWAT-like team and an "expert" around the zombie infested apartment building. Except it turns out they are not zombies but victims of a viral demonic possession ! Overall not too bad, and does have a few unsettling images on show, but it did make me want to watch the mental, and slightly similar Demons and/or Demons 2 instead.
widowspider
Let The Right One In - extraordinary. Vince (helpfully) already watched and mailed back the US remake which he absolutely loved, so I'm going to have to rent it now. What a clever film. Fabulous acting.
dandan
the housemaid - you made her wash your underwear?

with hae-ra (woo seo) expecting twins, eun-yi (jeon do-yeon) is employed as a housemaid and nanny; assisting the housekeeper, mrs cho (yun yeo-jong), and taking care of nami (ahn seo-hyeon), hae-ra's first child. eun-yi settles in to the role quickly, enjoying the quirks of formality and bonding with nami in their opulent surroundings. however, when hoon (lee jung-jae) decides to wander from his heavily pregnat wife's bed, to eun-yi's, life in the house might not be as simple...

kim ki-young's 1960 film 'the housemaid' is hailed as a classic of korean cinema and has been a film i have been meaning to watch for years. i haven't gotten round to it yet, but it's available to stream (legally) online, so i shall. in the meantime, i managed to get round watching this; im sang-soo's remake. i have seen a couple of im's other films, 'a good lawyer's wife' and 'the president's last bang'; both of which i enjoyed, so i was looking forward to seeing what he did when treading on such hallowed cinematic turf.

the first thing i guess i should say is that, from what i have read, the term "remake" should only be applied very loosely, which seems to be backed up by the director's comments. i don't really want to discuss characterisation, as i think that it's nicer not to know or have ideas about what unfolds, beyond having a very basic idea of the set up.

what i will say is that i enjoyed this rather a lot, save for a moment in the climactic scene of the film which didn't really scan. i shall say no more, barring the fact that it was post-scripted with, what i must say is, one of my favourite closing scenes i've ever seen. so, i have forgiven it for now and will watch it again sometime in the future and see how that moment sits again.

as a piece of cinema, it is a bit of a treat. the pacing, narrative development and script all draw you nicely in to the household. speaking of which, i don't think i've ever seen a korean film spend so much time indoors; instead the focus is definitely on what happens indoors, in rooms with adjoining doors and behind closed doors. the house is amazing - a real house or a set? i'm not sure, but it plays its part very well.

jeon do-yeon does a great job, but she is quite an amazing performer, so this is no surprise. it was nice to see woo seo again, having loved her in 'crush'n'blush' and she looks like she's continuing to develop nicely and yun yeo-jong also put in an assured performance. however, the unexpected highlight of the film just has to be ahn seo-hyeon: just brilliant and an amazing screen presence.

good stuff, i think.


gorgeous - who's a pretty boy then?

bu (shu qi) is a sweet, young taiwanese girl, with romance and dreams in her heart. unfortunately for bu, living and working at her parent's tiny coastal bar isn't fulfilling any of her dreams, however that's about to change. after finding a message in a bottle; "i'm waiting for you, albert", with a hong kong address attached, bu sets off to track down the author.

and, track him down, she does. unfortunately for bu, albert (tony leung) is gay and not interested. still, bu decides to stick around and see what hong kong has to offer. it isn't long before she ends up meeting c.n. (jackie chan), a rich playboy, with a reputation as a womaniser. still, maybe he just hasn't me the right woman yet...

so, yes, jackie chan in romantic lead shocker, but let's come back to that...

first things first: this is a shu qi film and, quite frankly, she is adorable. she is a great screen presence and a joy to watch. it's been five years since i watched this and i sat, thoroughly enjoying this and wondering why it didn't have a much better reputation than it does. it is a very sweet film, there's a nice magical realism element to it, the cast is pretty amazing and charms you from start to end. any hoo, i shall say that this is a film that i really, really like.

beyond the charms of miss qi, jackie puts in a good turn in unusual territory. although, as he admits, there's a good deal of the real jackie in this role: more the workaholic perfectionist, as opposed to the drunken stage invader. tony leung is also good in his small supporting role, doing well with the a role that you may not expect to be handled well. emil chow puts in a good turn as jackie's business rival and, like most of the cast, he seems to be having an absolute blast - in fact, this sense of fun comes across from everyone and it's infectious.

oh, there's also a million cameos: sandra ng, lam suet, daniel wu, stephen fung, sam lee and stephen chow being highlights.

so, as well as being a fun, romantic comedy, there are a couple of fight scenes. two are gentle, slap-stick affairs, which are just fun, whilst jackie's two one on ones with pint-sized powerhouse bradley allen are hyper-kinetic, very tightly choreographed, and really rather impressive affairs.

so, a bit of romance, some laughs, a great cast and even some action: all boxes ticked.

great stuff!
maian
Carlito's Way (1993)

In many ways a spiritual successor to Scarface - in that it stars Al Pacino as a criminal with a suspect Puerto Rican accent rather than a criminal with a suspect Cuban accent and both are directed by Brian De Palma - but much less cartoonish, more focused on characters and featuring a gleefully amoral performance by Sean Penn as Carlito's reprehensible lawyer. A lot of films have tried to tell the story of a criminal who tries to get out but gets pulled back in but this film worked better than most, for me at least, because it committed fully to the idea that Pacino wanted to just leave the life behind and found himself drawn back in purely by the actions of others. It also featured two absolutely brilliant setpieces that rank with some of De Palma's best stuff; a drug deal that goes very wrong and a harrowing chase through Grand Central Station. The last twenty minutes or so were really unbearably tense, which is quite an achievement since the film starts at the end, the cycles back to show how it reached that point.

Alien (1979)

On our biggest screen at work. Seeing it in a cinema really demonstrated how great not only the production design of the film is - it's one of the few visions of the future I've seen that hasn't really aged, largely because of how grimy and run down The Nostromo feels - but also the sound design. The mix of score and ambient, industrial noise is really effective.
logger
The Boxer

Good but the direction is a little bland and parts of the film could have done with a bit more depth. The emotional core of the story is there, so with a better director and a little more work on the story it could have been great.
Raven
The Sun

The year is 1945, the Second World War is over and an American General, MacArthur, is tasked with determining the culpability of the Japanese Emperor, Hirohito.

Whether there was a pressing need for the story to be told in those countries, or not, it seems odd to me that filmmakers from Russia, Italy and France would join together to make a film about a Japanese Emperor meeting an American General, but join they did and The Sun is the result.

The film sticks largely to the established view promoted by the Americans after the Second World War that Hirohito was a figurehead who wasn't actively involved in the running of his country during the conflict, but regardless of its historical accuracy this is still an interesting film and largely so because of the mesmerising performance of Issey Ogata as Hirohito.

In a performance that is in equal measure precise, eccentric and unnerving, Ogata keeps your attention throughout the hundred-odd minute running time even though very little actually happens.

Robert Dawson is less effective as General MacArthur - for some reason I kept thinking of John Lithgow every time he was on screen - but Ogata more than compensates for that.

A lot of the story's exposition takes place off screen, leaving the viewer to piece together what has happened for themselves, but this almost whimsical style of story telling just adds to the surreal air of the events in general.

I'm not sure I really enjoyed the film - I'm not sure it is a film that was really made for enjoyment - but it was an interesting and thought provoking piece.

If for no other reason it should be watched, however, for Ogata's remarkable performance.

Recommended.
GundamGuy_UK
QUOTE (maian @ Mar 16 2011, 02:37 PM) *
Alien (1979)
it's one of the few visions of the future I've seen that hasn't really aged


Apart from the computers =P

You're absolutely right, though.
maian
QUOTE (GundamGuy_UK @ Mar 17 2011, 04:40 AM) *
Apart from the computers =P

You're absolutely right, though.


I could believe that Weyland-Yutani would be cheap enough to install 1970s-era equipment in The Nostromo. They did give a lifeboat which could only support three people to a ship with a crew of seven. tongue.gif

Crash (2004)

Like having someone shout RACISM IS BAD! OH, LOOK HOW BAD RACISM IS! IT'S REALLY FUCKING BAD YOU KNOW? RACISM, THAT IS at you for an hour and a half. It has its heart in the right place, but it is woefully misguided in its belief that the best way to tackle intolerance is to populate its story entirely with the kind of paper-thin stereotypes that propagate that tolerance then fail to give them any depth or shading. Likewise, Paul Haggis seemed to think that just piling on a load of stories would give the film a sense of interconnectivity, but unlike Magnolia or Short Cuts, both of which are clear reference points, there doesn't seem to be any emotional or thematic connection between those stories beyond the most basic and superficial one of RACISM = A BAD THING. They also don't work particularly well as stories in their own right since he doesn't develop any of them into anything other than ciphers for the film's ham-fisted, clumsy preaching.

Awful.
logger
Breathless (1983)

I like it.
maian
QUOTE (logger @ Mar 17 2011, 09:05 PM) *
Breathless (1983)

I like it.


You and Kermode.
PrincessKate
Pretty in Pink and 24 Hour Party People in the world's oddest double bill.
Kept expecting something horrific to happen in Pretty in Pink, which affected my enjoyment of it. That, and Andrew McCarthy's freaky stare-y eyes.
24 Hour Party People still hilarious and cringey, with the usual addition of fun facts from Vicky's dad who used to do the lights at the Hacienda and knew everyone in it. Cameo spotting, also fun.
logger
QUOTE (maian @ Mar 17 2011, 09:22 PM) *
You and Kermode.

It was pretty much hated when it came out and was often cited as one of the worst films ever made, but has gone on to be hugely influential. It has it's problems but it's one of the few times were a remake has been totally unnecessary but has still been able to bring something new and worthy to the plate, more like a remix than a remake. Plus it has a great soundtrack and Valerie Kaprisky is naked a lot in it.
GundamGuy_UK
QUOTE (maian @ Mar 17 2011, 08:11 PM) *
I could believe that Weyland-Yutani would be cheap enough to install 1970s-era equipment in The Nostromo. They did give a lifeboat which could only support three people to a ship with a crew of seven. tongue.gif


Yet they can afford to make an android out of beansprouts and milk.

The Incredible Hulk
Mindless fun. I laughed out loud at the "Any last words?" "HULK SMASH!" lines.
Zoe
Case 39 (2009)

I am officially drawing a line under the 'evil child' genre of horror films.

This and 'Orphan' have done me in.
Atara
The Adjustment Bureau

It was rather good, Matt Damon and Emily Blunt turned in decent performances and had a great chemistry on screen from the lovely 'meet-cute' and beyond. The 'Bourne meets Inception tag is, unsurprisingly, very misleading. It is essentially an action rom-com, it doesn't explore it's themes of Fate vs Freewill as well as it could have and the end fell a bit flat but is enjoyable all the same.
logger
Kick Ass

I'm not sure if Hit Girl is a strong, empowered, feminist icon or a Mary Sue for comic book nerds who who want a heroine that offers no sexual threat.
maian
Submarine

Great. Very funny, wry and sweet without being sentimental. Richard Ayoade's done a great job of making a film which is unmistakably British in its humour but as far away from the traditional notion of a "British" film as possible since it's got a clear French New Wave vibe to it that I really liked.
melzilla
I went to see the NTL screening of Danny Boyle/Nick Dear's Frankenstein on Thurs. I've never been to one of these live screenings before and I have to say it was rather great and I'd definitely recommend it to anyone who hasn't given it a try. The direction of the live recording was excellent and made it feel very much like, not only being there, but also being almost involved in the play itself. I think some of the earlier live theatre screenings had a few problems but they certainly seem to have ironed them out now. I'm going again next week, mainly due to the play itself, but partly because the experence was well worth it. I'll put my review of the actual play in the theatre thread, I suppose.
maian
Dressed To Kill (1980)

One of Brian De Palma's best Hitchcock-influenced works in which a disatisfied woman (Angie Dickinson) seeks to have an affair after discussing her sexual problems with her psychiatrist (Michael Caine). It's hard to talk about the story anymore without spoiling it, but it's a delirious romp that makes great use of its cast - which also includes Nancy Allen and Keith Gordon in major roles - and De Palma's typical ostentatious directing, which can make two people eyeing each other up in a museum erotic and suspenseful, and the simple act of waiting for a train fraught with danger.
Hobbes
QUOTE (widowspider @ Mar 14 2011, 05:27 PM) *
Let The Right One In - extraordinary. Vince (helpfully) already watched and mailed back the US remake which he absolutely loved, so I'm going to have to rent it now. What a clever film. Fabulous acting.


One of the very few genuine masterpieces of the last 10 years. I really want to watch it again.

I have absolutely no desire to see the American remake version because it's a movie that does not need anything changing or adding to it. Apparently it's approaching a shot-for-shot remake and exactly the same in most bits. I think it's a travesty that studios think that people are too stupid or lazy to read subtitles, really shows how little they think of their audiences that they'd rather make the same film again than promote or re-release the original. And if some people actually are too fucking lazy to watch a film with subtitles, why give them an 'easier' film as a reward for being a lazy schmuck? Fuck 'em, and I mean that. One of few things that gets me genuinely angry about films.

The original will stand the test of time as a brilliant, subversive and crafted piece of filmmaking, the US one will only ever be remembered as yet another remake.

/rant
Jessopjessopjessop
QUOTE (Hobbes @ Mar 20 2011, 03:46 PM) *
The original will stand the test of time as a brilliant, subversive and crafted piece of filmmaking, the US one will only ever be remembered as yet another remake.

/rant

The original is superb, but I am still intrigued to see the remake. We got it free on blu-ray so we'll get round to that at some point...

Also, i really enjoyed [b]Paul[/b[. It may lack the subversive spoofery of previous Pegg films but it is a very likeable movie capturing the laid-back slacker vibe really well, and the great supporting cast provide more humour than i was expecting from the trailer.
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