The Movie (and TV show) Watching Thread

[T'Chenka]

The Zone Of Interest
2023 film
director Jonathan Glazer

7.0 (almost 6.5) / 10


This is a very well made arthouse film. As a piece of art, trying to show something or say something, I actually think this is one of the most relevant and interesting films of the 2020s. I have to applaud Glazer for making this art piece, and it feels good to know that this exists in our society.

Now, as a FILM...

Like I said, it's very well made. Directing and cinematography are excellent. Performances are all very good, though not amazing. Sandra Hüller is probably the best one. Production design and other techs are subtle but good.

The massive problem here is that there's little happening, and the story execution is hit or miss. There were ingredients here for this to be a lot better IMO, but it's only partially explored. I understand that this is meant to be arthouse, but even in that context, it needed just a little bit more to invest the viewers in what little plot is going on here.

FINAL VERDICT
Excellent and provocative piece of art that invokes important questions that we should be asking ourselves about. As a FILM, it goes just a little too arthouse and keeps the plot just a little too minimal. The result is a very boring film. It's frustrating because it only needed to be 5 or 10% more plot-based and it probably would have been one of the best films of the year, in my view. HIGHLY RECOMMENDED for people who know going in that it's a boring film and are okay with that.

[Comrade Funk]

Renee Rapp was the only actor to live up to the original Mean Girls cast

[T'Chenka]

WARNING - NSFW LANGUAGE

WARNING - MASSIVE SPOILERS for Saltburn (2023 film)

[I spent the winter writing songs about getting better]

I finally saw Killers of the Flower Moon Sunday night. It was playing at the formerly "cheap" theater which doesn't really do the cheap later releases anymore because of how the industry releases movies now and thus now is doing a sort of Oscar showcase, the one prior to it was The Holdovers which I've already seen (it's a single screen.) It was kind of inconvenient but I almost certainly wouldn't be able to see it later this week and I know if I waited for streaming only/video I'd just keep pushing it off over and over due to the length, so it was kind of now or never.

My overall take is that it was a very well made film with a good story, and impressive use of the framing device for the epilogue...but Scorsese needed an editor. There's no reason this movie couldn't have been an hour shorter. Also all the raving about Leo was a bit misplaced, far from his best role. Lily Gladstone on the other hand, now there's a star, and totally deserving of her Oscar nom...more than Margot Robbie too honestly. Story wise it was quite compelling...it just didn't have to move that slow.

[Progressive Pessimist]

I finally saw 'Barry Lyndon,' one of three Kubrick films I hadn't seen before.

It wasn't exactly what I expected when I heard it was about a "roguish" Irish individual working his way into British aristocracy. I expected something a little grittier and suspenseful for whatever reason, but it kind of ended up being a dry 'Downtown Abbey'-esque story that was as long as I sort of dreaded.

None of that ended up being a bad thing though. I actually kind of loved it. It evoked 'Uncut Gems' to me with this hapless protagonist constantly getting into and out of situations that he gets overwhelmed with.

It was interesting timing to see this when I did too because it reminded me of 'Saltburn' as well in some ways. Obviously less nasty though.

It's probably hard to recommend to the average person for its length and subject matter, but for me Kubrick can't really do much wrong. He is a visionary for a reason.

[Virginiá]

My overall take is that it was a very well made film with a good story, and impressive use of the framing device for the epilogue...but Scorsese needed an editor. There's no reason this movie couldn't have been an hour shorter. [...]

This is the biggest reason I've hesitated on watching it. It's also why I never watched "The Irishman." That's a lot of time to spend on something that I'm not even sure will be captivating for me. Not sure why movies in the twilight of his career keep getting longer and longer. What is it about these stories that can't be told in a slightly more concise manner?

[Chancellor Tanterterg]

My overall take is that it was a very well made film with a good story, and impressive use of the framing device for the epilogue...but Scorsese needed an editor. There's no reason this movie couldn't have been an hour shorter. [...]

This is the biggest reason I've hesitated on watching it. It's also why I never watched "The Irishman." That's a lot of time to spend on something that I'm not even sure will be captivating for me. Not sure why movies in the twilight of his career keep getting longer and longer. What is it about these stories that can't be told in a slightly more concise manner?

Killers of the Flower Moon absolutely needed to be that length; excellent movie!  The Irishman sucked though.

[Sestak]

My overall take is that it was a very well made film with a good story, and impressive use of the framing device for the epilogue...but Scorsese needed an editor. There's no reason this movie couldn't have been an hour shorter. [...]

This is the biggest reason I've hesitated on watching it. It's also why I never watched "The Irishman." That's a lot of time to spend on something that I'm not even sure will be captivating for me. Not sure why movies in the twilight of his career keep getting longer and longer. What is it about these stories that can't be told in a slightly more concise manner?

Yeah, I have to push back on this as well. The film (to me, at least) does not feel its length and cutting it shorter would severely hamper the space it gives its characters and the overall emotional impact. I left the theater feeling like I could’ve watched for another hour; if it had been cut short an hour I’m pretty certain it would have felt incomplete or hollow.

Both Scorsese and Schoonmaker have publicly stated that this was the length the film needed to be to feel right, and they are at a point in their career when they don’t need to compromise with present industry practices on this.

[Virginiá]

FWIW I'm just more of the opinion that if a movie is going up to 3h30m it might be better to put it as a limited series. I guess it doesn't get that theater release but there's a lot of people who just can't do that anyway. Evidently at least some others agreed because while it got great ratings, it didn't make back its budget according to box office results.

I heard it is good but haven't seen it yet so I don't have anything to add to it other than the length.

[Ferguson97]

"First Cow" takes a very simple premise and turns it into something beautiful. This is one of those movies where you sort of forget that you're watching a movie because of how endearing the characters are and how realistic the acting and dialogue is. I genuinely can't think of anything I'd change about it. This is one of the best movies I've seen in a while.

[T'Chenka]

Morbius (2022)

3.0 / 10

Bad movie. Not an steaming pile of s__t with glass shards and AIDS needles poking out of it like I have been lead to believe. It's just bad, but not worse than bad. Within the context of my extremely low expectations, I would pleasantly surprised.

[Comrade Funk]

Anything But You was fine and hopefully it's success is a sign of things to come in regards to the return of the traditional romcom. If you like good looking people, you'll like this.

[John Dule]

When I rewatched Gone With the Wind a few months ago, I found myself wondering what a remake of that film might look like. The idea I settled on was this: A retelling of the classic story, but with the shadow of slavery always lingering prominently in the background. For example, Scarlett might hear the screams of a slave in the fields and then shut the window-- just to drive home to the audience how indifferent the Southern characters are to the suffering around them. Then I quickly realized that this was too obvious, too gimmicky, and laying it on a bit thick.

The Zone of Interest is my half-baked Gone With the Wind remake idea, only with slavery swapped out for the Holocaust. And while I appreciate seeing what this concept looks like onscreen, my concern about the premise being a gimmick was correct. This is a movie that very quickly establishes its central idea and then proceeds to spin its wheels for the rest of its runtime-- even coming in under two hours, it's clear that there's not enough material here to fill a feature film. I love films with a message, but this movie has only one thing to say, and every single scene conveys that exact same message in the exact same way. Without any variation on the theme, the entire experience feels stagnant.

Nevertheless, as an experiment with this particular premise, The Zone of Interest has artistic merit. I recall complaints earlier last year when Killers of the Flower Moon came out-- those viewers tragically lacking in media literacy argued that because the story was told from the perspective of the oppressors, it was inherently flawed. The Zone of Interest proves that a story can completely focus on the perpetrators of an atrocity, completely ignore the victims, and yet still do their story justice. The very fact that the viewer experiences this narrative through the perspective of the oppressor is the entire point of the film. It forces us to contemplate our decisions in our own lives, and to realize that our roles in society cannot be justified simply because they make us comfortable or provide for our families. Qualities like being a "family man" or "hard-working" or "loyal" exist outside the moral dimension, and the movie makes this point with precision accuracy. My one complaint is that this message could've been conveyed in a short film, and it would probably have been even more effective in that format.

[Progressive Pessimist]

Morbius (2022)

3.0 / 10

Bad movie. Not an steaming pile of s__t with glass shards and AIDS needles poking out of it like I have been lead to believe. It's just bad, but not worse than bad. Within the context of my extremely low expectations, I would pleasantly surprised.

There are only two infamous scenes that I even think are worth talking about: the dance scene in front of the mirror and the cat litter scene. Otherwise, the movie is actually forgettable as much as I wanted it to be as "so bad-it's good."

However, unironically, the credits are the best part of the film. Those were some cool graphics! And Adria Arjona is quite pretty and was one of the few things keeping my attention through its runtime.

[RFK Jr.’s Brain Worm]

(Snipped)

(Snipped)

And Adria Arjona is quite pretty and was one of the few things keeping my attention through its runtime.

Well dang, I might have to watch it then.

Also, I made a Letterboxd and added you two.

I finally watched the first Mission: Impossible movie tonight. I was told to start on number three and then remembered that my friend that told me that has bad movie tastes, so I started on 1. Idk how Jon Voight went from looking like maybe 45-50 in Mission: Impossible to like 75 in National Treasure less than a decade later.

[Landslide Lyndon]

And Adria Arjona is quite pretty and was one of the few things keeping my attention through its runtime.

I always get her mixed up with Eiza Gonzalez.

[Progressive Pessimist]

(Snipped)

(Snipped)

And Adria Arjona is quite pretty and was one of the few things keeping my attention through its runtime.

Well dang, I might have to watch it then.

Also, I made a Letterboxd and added you two.

I finally watched the first Mission: Impossible movie tonight. I was told to start on number three and then remembered that my friend that told me that has bad movie tastes, so I started on 1. Idk how Jon Voight went from looking like maybe 45-50 in Mission: Impossible to like 75 in National Treasure less than a decade later.

I followed you too!

But maybe watch 'Andor' instead, if you haven't already. She's in that too and its legitimately good. It's the direction 'Star Wars' should have been going the whole time. It's a bit slow at times though.

And Adria Arjona is quite pretty and was one of the few things keeping my attention through its runtime.

I always get her mixed up with Eiza Gonzalez.

She's also nice to look at.

[RFK Jr.’s Brain Worm]

(Snipped)

(Snipped)

And Adria Arjona is quite pretty and was one of the few things keeping my attention through its runtime.

Well dang, I might have to watch it then.

Also, I made a Letterboxd and added you two.

I finally watched the first Mission: Impossible movie tonight. I was told to start on number three and then remembered that my friend that told me that has bad movie tastes, so I started on 1. Idk how Jon Voight went from looking like maybe 45-50 in Mission: Impossible to like 75 in National Treasure less than a decade later.

I followed you too!

But maybe watch 'Andor' instead, if you haven't already. She's in that too and its legitimately good. It's the direction 'Star Wars' should have been going the whole time. It's a bit slow at times though.

God I love Andor. I could go on and on about it. It definitely took a few episodes to hit its stride, but once they got off Ferrix and started expanding multiple storylines, it was absolute gold.

[Ferguson97]

Lady Bird - 9/10

This was a near-flawless portrayal of a complex, borderline toxic mother-daughter relationship. It reminded me a lot of my own sister's relationship with our mother, to the point that I had to double check and make sure that she didn't sell Greta Gerwig the rights to her life story.

Saoirse Ronan gives a masterful performance.

[Ferguson97]

When Harry Met Sally - 8.5/10

Adorable movie. The titular Harry and Sally both felt like actual people, which is a rare feat in a rom com. The movie is very genuine, without ever verging on corny territory. Great stuff.

[Progressive Pessimist]

So, how about that 'Madame Web?' How many couples are going to see it for a Valentine's Day date and then promptly break up? Who could have fathomed that it would be as terribly reviewed as it looked like it would be!?

Anyway, I saw 'Asteroid City' and 'The Talented Mr. Ripley' for the first time.

The latter was definitely the superior 'Saltburn' that was 100% influenced by it, no matter what anyone says.

And 'Asteroid City,' after already feeling this way about 'The French Dispatch,' might be making me finally waver slightly in my Wes Anderson fan identity. I still enjoyed them both, mostly, but they're more uneven than his previous works and definitely at the bottom of my ranking of his films. In 'Asteroid City's' case, the maybe 40% of the movie told in black-and-white really felt unnecessary and kind of jarring. Usually I'll defend Anderson's quirks, but it was finally a bit much for me. The parts that were actually about this tiny Southwestern town was the good old symmetrical Andersoniness I know and love, complete with an adorable and hilarious stop-motion alien. I love when his look is applied to different time periods and locations.

His films aren't for everybody, they're mostly for him, but I tend to always recommend them, regardless. But this one is the toughest to suggest people unfamiliar or uninterested with his style watch. And I'm a bit disappointed in saying that.

Now that I'm up-to-date on his entire filmography now, I think I'm going to make an official ranking list if all his films on my Letterboxd.

[Benjamin Frank 2.0]

Pat Garrett and Billy the Kid, 1973 film directed by Sam Peckinpah, starring Kris Kristofferson, James Coburn and Bob Dylan 2005 Special Edition

Very good movie, even if unfortunately overshadowed by its 'behind the scenes.'

At first, the movie likely generated interest for being Bob Dylan's first feature film role. During the filming though it also took on more interest for director Sam Peckinpah being a completely out of control alcoholic who was so drunk he was only capable of filming for four hours a day. After the film was finished it generated more interest for being chopped up by the studio and it bombed at the box office.

In 1988 though Turner Classic Movies revived the film with a reedit that restored 16 minutes from the original theatrical release. Finally, this 2005 'Special Edition' took out about six minutes but is said to be the closest to Peckinpah's original vision.

The film itself is one of the attempts to deconstruct Western (and Western film) myths, along with films like (controversially) The Searchers and Clint Eastwood's Unforgiven.

The film is based on the true story of lawman Pat Garrett and outlaw Billy the Kid. Without too many spoilers, the film shows the similarities of Pat Garrett and Billy the Kid and the choices they made given the changing west in 1880. Essentially, big money was coming to New Mexico and the governor and the big money people thought that outlaws like Billy the Kid were giving the west a bad reputation that was chasing away additional investment.

Given this reality, the older former outlaw Pat Garrett decides out of self interest to join the system. The younger Billy the Kid decides to fight the big money rancher, but it's also made clear that Billy the Kid is not some Robin Hood type looking out for the little people, but is also only concerned with his self interest.

Of course, the most evil person is the big moneyed powerful rancher and then probably the governor, but they're too big for the law.

This is also the film where the Dylan song "Knockin' On Heaven's Door" comes from. The Dylan songs in the film (there are really just three, a song played once in the film about Pat Garrett), a kind of balladeer song about Billy the Kid as it is updated throughout the movie, and Knockin' on Heaven's Door. For anybody who wondered why Dylan seemed to be singing to his 'momma' in the song, it's because the songs are literal and the character Dylan is singing to is named Momma (Baker.)

In my opinion, the scene with Knockin' On Heaven's Door is maybe the best scene that incorporates music in a movie.

Also, in my opinion, the Billy the Kid ballads are some of Dylan's worst lyrics:
They say that Pat Garrett's got your number
So sleep with one eye open when you slumber

I suspect this was intentional revenge from Dylan. Not only was Peckinpah drunk the whole time, he was, according to Dylan, dictatorial, filming in some isolated place in Mexico where he insisted the cast stay for the entire shoot.

Dylan has a small but important role playing the enigmatic 'Alias' who is sympathetic to anti heroes like Billy the Kid. This, of course, was totally in keeping with Dylan's own persona at the time.

Of course, the one thing I don't get is that when Billy the Kid turned eighteen, shouldn't he have changed his name to Billy the Adult?

[RFK Jr.’s Brain Worm]

And 'Asteroid City,' after already feeling this way about 'The French Dispatch,' might be making me finally waver slightly in my Wes Anderson fan identity. I still enjoyed them both, mostly, but they're more uneven than his previous works and definitely at the bottom of my ranking of his films. In 'Asteroid City's' case, the maybe 40% of the movie told in black-and-white really felt unnecessary and kind of jarring. Usually I'll defend Anderson's quirks, but it was finally a bit much for me. The parts that were actually about this tiny Southwestern town was the good old symmetrical Andersoniness I know and love, complete with an adorable and hilarious stop-motion alien. I love when his look is applied to different time periods and locations.

His films aren't for everybidy, they're mostly for him, but I tend to always recommend them, regardless. But this one is the toughest to suggest people unfamiliar or uninterested with his style watch. And I'm a bit disappointed in saying that.

I don’t think I’m as big of an Anderson fan, but I definitely agree. I would’ve been just fine with a 90 minute movie about a kids space camp in the southwest in the 50s. I love the roadrunner puppet! His aesthetic really did get to shine through in the desert parts and I enjoyed that. The black and white parts just lost me. I’m still glad I saw it though. Still need to see The French Dispatch and most of his earlier filmography.

[Progressive Pessimist]

And 'Asteroid City,' after already feeling this way about 'The French Dispatch,' might be making me finally waver slightly in my Wes Anderson fan identity. I still enjoyed them both, mostly, but they're more uneven than his previous works and definitely at the bottom of my ranking of his films. In 'Asteroid City's' case, the maybe 40% of the movie told in black-and-white really felt unnecessary and kind of jarring. Usually I'll defend Anderson's quirks, but it was finally a bit much for me. The parts that were actually about this tiny Southwestern town was the good old symmetrical Andersoniness I know and love, complete with an adorable and hilarious stop-motion alien. I love when his look is applied to different time periods and locations.

His films aren't for everybidy, they're mostly for him, but I tend to always recommend them, regardless. But this one is the toughest to suggest people unfamiliar or uninterested with his style watch. And I'm a bit disappointed in saying that.

I don’t think I’m as big of an Anderson fan, but I definitely agree. I would’ve been just fine with a 90 minute movie about a kids space camp in the southwest in the 50s. I love the roadrunner puppet! His aesthetic really did get to shine through in the desert parts and I enjoyed that. The black and white parts just lost me. I’m still glad I saw it though. Still need to see The French Dispatch and most of his earlier filmography.

I like or love all his films, but 'The Grand Budapest Hotel' is my absolute favorite. (Check out my list on Letterboxd!)

His earlier films are a bit different, so maybe watching them in order of release could ease you better into his style that started between 'The Life Aquatic' and 'Fantastic Mr. Fox.'

With 'The French Dispatch' it's an anthology consisting of three main segments. I liked the first one enough, the middle one kind of bored me, and loved the third one. So it was a very mixed bag. The most mixed bag up until 'Asteroid City.'

[RFK Jr.’s Brain Worm]

I barely made it through Maestro. And by make it, I mean “watched the first 1/3 or so, then watched another 10 minutes at 1.5x speed, then skipped to the parts with Maya Hawke, then was disturbed by how literally every other word out of her mouth was ‘Daddy,’ then basically just skipped to the credits.”

In my Letterboxd review, I riff on how they got “carried away” like that obnoxious song near the start. Something else that really bugged me was how fake the CGI of the theater seemed. There wasn’t even a good reason to use CGI either. At times the movie seemed over the top without being self-aware of that (see RRR or Sisu for over the top movies that are self-aware). The soundtrack (well, what I heard) was good. I’m something of a sucker for classical and classical-adjacent music.

However, I think Twilight might’ve been a better love story (though I’ve never seen Twilight).

Fortunately that left me with time to rewatch 10 Things I Hate About You, which is a much better movie and didn’t almost put me to sleep. I’m tempted to rate it even higher than I did before (4/5 stars). The writers really did a good job at fleshing out the secondary characters. Also, see 28:39 for an absolute Joker smile from Ledger right there.