Rush Official Trailer #1 - Max Perlich Movie (1991) HD - YouTube Rush (1991) stars Jason Patric, Jennifer Jason Leigh, Sam Elliot, and Greg Allman. Very intense
2 guns. this is an exciting and original action movie lots of good actors, Denzel Washington is cool as always and mark wahlburg…thinks he’s funny.
the plot can be seen as ridiculous but this movie is very entertain.
Watched Doctor Zhivago. Im into old movies, especially old epics and it was pretty good.
James Wan’s The Conjuring
From the director of Saw and Insidious comes a new horror concerning an old case handled by real “demonologists” named Ed and Lorraine Warren about a demonic entity terrorising a family in their new home. From what they expect to be a cut and dry faux-haunting slowly turns into something horrifying and relentlessly evil, forcing them to take themselves to the limits of their knowledge and abilities in an effort to save the family’s lives from the darkness that now surrounds them.
When I first heard about this film earlier in the year I was dismissive of it, expecting it to be nothing but another shill project that jumped out of the floorboard to bring attention back to Wan as a director and keep his career chugging along. I’ve been unenthused by modern American horror productions for a significant period of time, normally opting for European and Asian horrors to really get my fix (The Descent, Let The Right One In, [REC] etc.). I started to find a lot of horrors to be way too reliant on cheap jumps and flashy scares as a way to trick the audience into thinking they are in the throws of horror without ever really offering any substance behind a jab of eerie music and a quick hand lunging at a shoulder. From the trailer, I expected this to be exactly the way that The Conjuring went, but I was pleasantly surprised when seeing the whole product.
James Wan has lent himself to an odd array of branches within the horror genre, from the thriller gore-porn of Saw, through the cheesy “B-movie”-esque domain of things like Dead Silence, and now over to the creepy demon stories of Insidious and The Conjuring. While I think it took a very long time for him to do so, Wan has finally hit his stride with The Conjuring. He’s brought a lot of flack down the line, with the popular but tasteless Saw series (only directing the first, but acting as producer for another); the cheesy silliness of Dead Silence; and more recently the promising Insidious, that’s potential was mostly unfortunately crushed under the weight of it’s less than appealing final scenes; The Conjuring however, succeeds where he has failed, and offers a delightfully ominous and genuinely creepy throwback to the golden age of horror cinema that arose in the 70’s.
The relief in The Conjuring is that Wan foregoes most of the cheap and plentiful shock scares available to him in an effort to build tension and a slow, gradual unnerving aura so he can hack away at our foundations before he hits us with his climactic wrecking ball scenes. My biggest negative prediction was that it would not go this way, but to know that it has turns this from something that may have been lost in the ether into a genuinely pleasing and re-affirming inspiration for what horror movies may still hold. Wan follows suit of some very pleasing horror commandments, opting for long drawn-out shots filled with an equally lingering silence before dropping us into the boldness of his chilling scares. There are a lot of shots in this film that I really grew to admire, not least a gratifying focus on the shocked facial expression of a person, only to show his unawareness of the dark entity wandering around the background behind them. In particular there are some scenes that I was taken aback by because of the attention to detail they allowed to the surrounding environment and the interactions of the characters, there are a few dealing with stairs and wardrobes that use this to offer an impressively well-crafted sense of terror that I was surprised to see the efficacy of in it’s final form. Some of the scares are predictable when they come, but Wan mixes up his environment with a couple of faux-build ups to keep the tension active and the audience immersed in their suspense, with the grander scares being very well timed in relation to their preceding shots. What I love about The Conjuring is that Wan has shifted himself away from gore after gore images and relies on true creepiness for his horror setting. He has to take the time to craft a scene with care and delicate directive work and not jump to a Saw-like moment of disgust and slasher thrills, a decision that he evidently took hold of right from the beginning, and the pay-off for his efforts has been immeasurable.
It is obvious that Wan took hold of inspirations from such films as The Exorcist and The Omen, and his affinity or upholding the virtues of Hitchcock to a remarkable modern standard are equally respectable. While the draw to common horror occurrences and frequent similarities to great terror flicks of old may drag this down for some, I find it to be a minor bump that, while keeping The Conjuring from really fighting it’s way to meet those other classics at the top of the podium, cements the obvious potential that Wan would be able to hold with a unique and creative screenplay and offers this up as a stepping stone to such an endeavour in future. While this is not quite cut into the rock-face like The Shining or The Exorcist, The Conjuring will no doubt be a vividly memorable and upheld symbol of American horror shows that will be talked about for a long while to come. This film single-handedly destroyed my early speculation, and on a big silver screen on a quiet Sunday night, sent chills down my spine, hacked away at my nerves, and possessed me with the revelation that this may be the finest horror film of the year, and one that will take an act of genius to rival. For anyone who is a fan of genuine “Hitchcock” horror archetypes with the “oomph” to hit a modern age crowd, I recommend The Conjuring completely. For all of Wan’s earlier failings and unfortunately flawed toil into the elusive art of horror, The Conjuring finally delivers one of the most frighteningly glorious displays in recent years.
Goon
Pedro Almodovar’s Hable Con Ella (Talk To Her)
Talk To Her is a story of two men, unknown to each other, who are brought together in friendship when both of their loved ones are left in a comatose state. In the clinic where Benigno Martin works as a nurse, he takes care (exclusively with one other female nurse) of a patient named Alicia under orders from her psychiatrist father that she receive care from only the most respected of the nursing staff.
Marco Zuluaga is a reporter in a relationship with a famous female matador that he saw on TV, wanting to ask her of her recent emotional problems with a male matador that had taken advantage of her for his own personal gain, a story that she is unwilling to share. Helping rid her of a snake that made it’s way into her house (a strong phobia she has) allows him to gain her confidence and the interview grows into a friendship and later into a relationship.
One day while bull fighting, she is gored and left in a comatose state with severe brain damage, left in the same clinic as Alicia, Benigno remembers Marco from a previous chance meeting and they foster a friendship over the commonalities of the life they now lead with their loves.
For anybody who knows Almodovar’s work, they will know that his foray into the art of film-making roots itself in the expression of sexuality and it’s connection to humanity, Talk To Her follows suit of that trademark, and while the theme and plot together may sound rather unorthodox (which it kind of is, it’s Almodovar), he makes it work to such a magnificently precise form of emotional insight that I remain awed for another time by the quality of his work.
This is not a particularly straightforward film, though it is not surreal, it is not convoluted through many sub-plots, but it is still very unconventional and more than a little controversial. Almodovar shows the story of these two men and the bond that they share rooted in their compassion and devotion in caring for the women that are left lingering on the edge of life, of which he shows from a number of necessary perspectives.
Almodovar’s characters are built in that they show caring for the comatose women not from just an area of selfless respect and loyalty, but also the under-rooted selfishness of wanting them to survive to hold on to their time together and restore the happiness that they had before the accidents. This is a story that while simple on the surfaces, makes it’s way through a torrent of emotional themes, with equal parts loyalty and sacrifice; compassion and devotion; trust and faith; but also nostalgia and loneliness, coupled with fear and insecurity.
Almodovar pulls no punches, he shows us the wreck that these characters have been left in, and also the life that they had both lived before. Almost in severe contrasts, with Marco feeling a wave of relate-able sadness; and Benigno feeling an understandable and moving wave of relief, we see the growth of each of the men through the journey they are forced to follow and the reflections they take on how far they have come and their consolation of each other as they deal with what they are experiencing, Marco as a novice to that life, and Benigno as a near lifelong veteran.
As a famous quality of Pedro Almodovar, a strong theme in this film is it’s sexuality and here in particular it’s ties to complicated moral reasoning and the reality that things are not so black and white, even when they are done purely out of the expression of love.
There is a strong moral event tied into this story that takes place rather late and takes this film to a place it had not ventured before, a place that is both shocking and extraordinary, and would be an impossible task to overcome for most directors, but Almodovar handles it brilliantly, and sucks it dry of all it’s lessons and emotions, offering up a masterpiece of the consequences of emotion that transcends this simply beyond a movie of two lonely men.
This is a story of not just two men that share their grievances, their loneliness and their hope, but of men that live vicariously through their obsession with the women that they love, and the growth that they gain from these experiences.
Talk To Her is both a daunting and poignant work of art, but also an insight into the deep recesses of humanity and the conflict of emotion in the darkest of circumstances, offering a chance at hope and understanding, even when the odds seem insurmountable, but also the ease that broken men can be dragged underneath the majesty of the world by it’s throws of power.
This is an emotional drama that holds on to some inarguably masterful expressions of humanity in it’s delightfulness, but also the ability for good intentions to take a bad form, despite their beginnings. Talk To Her is a moving experience and one I feel the better for having had the chance to go through, I recommend that anyone with an interest in melodrama see this immediately, it is as powerful experience as anyone could create under these circumstances, and a masterpiece of true emotional expression.
[quote]Big Kahuna wrote:
James Wan’s The Conjuring
From the director of Saw and Insidious comes a new horror concerning an old case handled by real “demonologists” named Ed and Lorraine Warren about a demonic entity terrorising a family in their new home. From what they expect to be a cut and dry faux-haunting slowly turns into something horrifying and relentlessly evil, forcing them to take themselves to the limits of their knowledge and abilities in an effort to save the family’s lives from the darkness that now surrounds them.
When I first heard about this film earlier in the year I was dismissive of it, expecting it to be nothing but another shill project that jumped out of the floorboard to bring attention back to Wan as a director and keep his career chugging along. I’ve been unenthused by modern American horror productions for a significant period of time, normally opting for European and Asian horrors to really get my fix (The Descent, Let The Right One In, [REC] etc.). I started to find a lot of horrors to be way too reliant on cheap jumps and flashy scares as a way to trick the audience into thinking they are in the throws of horror without ever really offering any substance behind a jab of eerie music and a quick hand lunging at a shoulder. From the trailer, I expected this to be exactly the way that The Conjuring went, but I was pleasantly surprised when seeing the whole product.
James Wan has lent himself to an odd array of branches within the horror genre, from the thriller gore-porn of Saw, through the cheesy “B-movie”-esque domain of things like Dead Silence, and now over to the creepy demon stories of Insidious and The Conjuring. While I think it took a very long time for him to do so, Wan has finally hit his stride with The Conjuring. He’s brought a lot of flack down the line, with the popular but tasteless Saw series (only directing the first, but acting as producer for another); the cheesy silliness of Dead Silence; and more recently the promising Insidious, that’s potential was mostly unfortunately crushed under the weight of it’s less than appealing final scenes; The Conjuring however, succeeds where he has failed, and offers a delightfully ominous and genuinely creepy throwback to the golden age of horror cinema that arose in the 70’s.
The relief in The Conjuring is that Wan foregoes most of the cheap and plentiful shock scares available to him in an effort to build tension and a slow, gradual unnerving aura so he can hack away at our foundations before he hits us with his climactic wrecking ball scenes. My biggest negative prediction was that it would not go this way, but to know that it has turns this from something that may have been lost in the ether into a genuinely pleasing and re-affirming inspiration for what horror movies may still hold. Wan follows suit of some very pleasing horror commandments, opting for long drawn-out shots filled with an equally lingering silence before dropping us into the boldness of his chilling scares. There are a lot of shots in this film that I really grew to admire, not least a gratifying focus on the shocked facial expression of a person, only to show his unawareness of the dark entity wandering around the background behind them. In particular there are some scenes that I was taken aback by because of the attention to detail they allowed to the surrounding environment and the interactions of the characters, there are a few dealing with stairs and wardrobes that use this to offer an impressively well-crafted sense of terror that I was surprised to see the efficacy of in it’s final form. Some of the scares are predictable when they come, but Wan mixes up his environment with a couple of faux-build ups to keep the tension active and the audience immersed in their suspense, with the grander scares being very well timed in relation to their preceding shots. What I love about The Conjuring is that Wan has shifted himself away from gore after gore images and relies on true creepiness for his horror setting. He has to take the time to craft a scene with care and delicate directive work and not jump to a Saw-like moment of disgust and slasher thrills, a decision that he evidently took hold of right from the beginning, and the pay-off for his efforts has been immeasurable.
It is obvious that Wan took hold of inspirations from such films as The Exorcist and The Omen, and his affinity or upholding the virtues of Hitchcock to a remarkable modern standard are equally respectable. While the draw to common horror occurrences and frequent similarities to great terror flicks of old may drag this down for some, I find it to be a minor bump that, while keeping The Conjuring from really fighting it’s way to meet those other classics at the top of the podium, cements the obvious potential that Wan would be able to hold with a unique and creative screenplay and offers this up as a stepping stone to such an endeavour in future. While this is not quite cut into the rock-face like The Shining or The Exorcist, The Conjuring will no doubt be a vividly memorable and upheld symbol of American horror shows that will be talked about for a long while to come. This film single-handedly destroyed my early speculation, and on a big silver screen on a quiet Sunday night, sent chills down my spine, hacked away at my nerves, and possessed me with the revelation that this may be the finest horror film of the year, and one that will take an act of genius to rival. For anyone who is a fan of genuine “Hitchcock” horror archetypes with the “oomph” to hit a modern age crowd, I recommend The Conjuring completely. For all of Wan’s earlier failings and unfortunately flawed toil into the elusive art of horror, The Conjuring finally delivers one of the most frighteningly glorious displays in recent years.
[/quote]
Hmmm I was on the fence about this movie, but since I like your reviews, I ll catch it tomorrow.
[quote]dt79 wrote:
[quote]Big Kahuna wrote:
James Wan’s The Conjuring…
[/quote]
Hmmm I was on the fence about this movie, but since I like your reviews, I ll catch it tomorrow.:)[/quote]
It’s far better than I would have expected, especially given that it’s from “The Saw guy”. It’s genuinely very creepy and it doesn’t just jump at ‘boo!’ slasher scares too often. I had a lot of fun with it, I really enjoy the 70’s feel too. It’s necessary to see this at a cinema if you see it anywhere, it won’t feel half as authentic if it’s not on a cold, dark night in a relatively empty cinema.
Magic Magic.
WTF
[quote]Professor X wrote:
Magic Magic.
WTF[/quote]
Magic Mike?
edit: nvm Magic Magic is actually a movie haha.
[quote]PB Andy wrote:
[quote]Professor X wrote:
Magic Magic.
WTF[/quote]
Magic Mike?
edit: nvm Magic Magic is actually a movie haha.[/quote]
I guess you can call it a “movie”.
All I got was a headache.
Stomach churning horror?
LOL!!!
Stomach churning, yes.
Horror…HELL NO.
Be warned.
[quote]optheta wrote:
[quote]Gogeta4X wrote:
Justice League : The Flashpoint Paradox
Good movie, was not expecting as much gore as there was but recommend it. Worth a watch.
[/quote]
oHh and SPOILERR!!
Skinny super man is fuckinnggg weird looking, thank god he didn’t have that much screen time else I would have been extremely uncomfortable watching it, ITS JUST SO WEIRD O_O A SKINNY SUPERMAN[/quote]
why couldn’t that have been the ending of the comic instead of the cluster reboot comic nerds got? I actually cancelled my dc subs including superman which I’ve been reading since 1986.
[quote]Professor X wrote:
Stomach churning horror?
LOL!!!
Stomach churning, yes.
Horror…HELL NO.
Be warned.[/quote]
LOL at Michael Cera facial expression in photo. you would think some bully stole his Weezer album
Just watched Quentin Dupieux’s Rubber.
Actually kind of enjoyed it, it drags a bit and it’s a little more lacklustre than what it could have been, but I’m a sucker for it’s intense absurdity and I really enjoy the way it was shot and laid out, in an oddly charming way. It’s very silly and there’s absolutely “no reason” to it, but nonetheless it pleased me at times, would have possibly made a brilliant short film if Dupieux cut out most of the filler and went all “Un Chien Andalou” with it.
The Swedish film Kyss Mig. Also check out Black Rock - it’s set in Maine and surprisingly good - lots of violence towards women tho.
Revisited David Michod’s Animal Kingdom yesterday too, thought I’d throw it in here if anybody hasn’t seen it, it’s one of my favourite Australian films that I’ve ever seen. Very carefully paced family crime drama focusing on a crime family brought to ruin. I really very much enjoy it and would recommend anyone interested in mostly softly carried dramas with gritty, dark undertones to see it when they have the chance, both the opening and closing scenes are incredibly powerful and unforgettably nonchalant compared to what they portray.