State your unpopular film related opinion - - - - - - - - - - - - - - - - - - - - - - - Part 32

Alexander has Anthony Hopkins monologue/narrate endlessly about what a legend Alexander is without showing any of it. All it shows is this whiny, wishy-washy Mama's boy who doesn't know wtf he wants. And Colin Farrell is just laughable. And Angelina Jolie as his mother with that Transylvania accent. And the movie being so, so timid in the way it dances all around Alexander and Hephaestion's relationship. Let's have Colin Farrell and Jared Leto give lots of puppy eyes and oh yea, hug a lot. Wow, hot and heavy. Especially considering a few months later we got Heath Ledger plowing Jake Gyllenhaal in a tent, way to look even more scaredy-cat, movie.
 
Speaking of movies being afraid of their own internal gay relationships.....Legend vaguely implying Tom Hardy is banging Taron Egerton and then leaving it 110% offscreen will never cease to be just a tragic waste.
 
I thought Eric Bana was far better than Brad Pitt in Troy. I thought Pitt kind of defined miscast.

Eric Bana was the MVP of that film. I really like Brian Cox but the way he was acting in that movie felt like he was in a different movie if that makes sense. He was hamming it up fairly often while most everyone else was trying to play it straight.
 
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Eric Bana was the MVP of that film. I really like Alex Cox but the way he was acting in that movie felt like he was in a different movie if that makes sense. He was hamming it up fairly often while most everyone else was trying to play it straight.

Brian Cox. And he tends to be hammy a lot of the time.
 
Haha yeah it almost did feel like his good looks gave him a force field or something. But I guess the idea was just that he was an amazingly gifted fighter and it may or may not have had something to do with him being part god. Although they didn’t have the gods in the movie, they did drop little hints throughout it that could indicate that the gods might be influencing things. But that movie’s greatest sin? THEY LET SEAN BEAN LIVE!

As for Alexander... ugh what a snooze fest. It was like, “Gee... what was Alexander known for? Being a brilliant military commander? Yeah, let’s show almost none of that. And when we do show it, let’s make him look like a tool who doesn’t know what the hell hes doing.” Also, his helmet looked stupid as hell. I remember laughing at him when I saw it in the theater. On the plus side, seeing Colin Farrell with an ugly blond mullet convinced me he should play Andre Agassi in the biopic someday, lol.

Rule # 7 of movie making...Sean Bean must die. Just ask Jupiter Ascending .
 
Rule # 7 of movie making...Sean Bean must die. Just ask Jupiter Ascending .

Lol I only got about 20 minutes into that movie before I turned it off. Did he survive? If so, that’s only one of about a million problems with that turd of a film. And I hate saying that because I love the Wachowskis and Tuppence Middleton. #sensatesforever
 
I watched two of the Paul W. S. Anderson adaptions of Resident Evil. You can ask why do I do this to myself, and my answer will be I enjoy them to a certain degree.

But my God, they are too heavy in some of the worst choices modern cinematographers make with shaky camera views and jump cut edits, and they are done worse 10 folds. They are bad to a degree where you can't see what happens during some of the action scenes, and that extends to climax battles.

I watched an action Kung Fu movie from the 70s, camera operator moved around to capture the full fight without shaking the camera while doing to, and without much jump cut edits. It's done in a simple and effective manner that made action crisp, clear, and easy to follow, and it aged well.

I don't mind jump cuts when there aren't many of them and they allow you to see a clearer close up shot of some key action moments and make it feel more like you are there, but some edits are overdone with it, like the punch to the gut Green Goblin gives Spider-Man in the final battle in the first Sam Raimi Spider-Man film. I understand why it can be done sometimes for action sequences that involve flying or high jumps, but have a reasonable amount of restraint.

I hate shaky camera entirely though, there should be no excuse for it, not even a shot of tremor or a turbulence for the scene, especially when the shot you think of is filmed in house.
 
I watched two of the Paul W. S. Anderson adaptions of Resident Evil. You can ask why do I do this to myself, and my answer will be I enjoy them to a certain degree.

But my God, they are too heavy in some of the worst choices modern cinematographers make with shaky camera views and jump cut edits, and they are done worse 10 folds. They are bad to a degree where you can't see what happens during some of the action scenes, and that extends to climax battles.

I watched an action Kung Fu movie from the 70s, camera operator moved around to capture the full fight without shaking the camera while doing to, and without much jump cut edits. It's done in a simple and effective manner that made action crisp, clear, and easy to follow, and it aged well.

I don't mind jump cuts when there aren't many of them and they allow you to see a clearer close up shot of some key action moments and make it feel more like you are there, but some edits are overdone with it, like the punch to the gut Green Goblin gives Spider-Man in the final battle in the first Sam Raimi Spider-Man film. I understand why it can be done sometimes for action sequences that involve flying or high jumps, but have a reasonable amount of restraint.

I hate shaky camera entirely though, there should be no excuse for it, not even a shot of tremor or a turbulence for the scene, especially when the shot you think of is filmed in house.

I rewatched Spider Man today, and I think it's underrated ( especially to its sequel). Given the state of technology at the time it's quite an achievement - didn't find the camera work during the final fight overly distracting or overdone, IMO.
 
I'm so starved for not just a good cbm, but a good movie in general this year.
 
I watched two of the Paul W. S. Anderson adaptions of Resident Evil. You can ask why do I do this to myself, and my answer will be I enjoy them to a certain degree.

But my God, they are too heavy in some of the worst choices modern cinematographers make with shaky camera views and jump cut edits, and they are done worse 10 folds. They are bad to a degree where you can't see what happens during some of the action scenes, and that extends to climax battles.

I watched an action Kung Fu movie from the 70s, camera operator moved around to capture the full fight without shaking the camera while doing to, and without much jump cut edits. It's done in a simple and effective manner that made action crisp, clear, and easy to follow, and it aged well.

I don't mind jump cuts when there aren't many of them and they allow you to see a clearer close up shot of some key action moments and make it feel more like you are there, but some edits are overdone with it, like the punch to the gut Green Goblin gives Spider-Man in the final battle in the first Sam Raimi Spider-Man film. I understand why it can be done sometimes for action sequences that involve flying or high jumps, but have a reasonable amount of restraint.

I hate shaky camera entirely though, there should be no excuse for it, not even a shot of tremor or a turbulence for the scene, especially when the shot you think of is filmed in house.

I rewatched Spider Man, and I think it's underrated ( especially compared to its sequel). Given the state of technology at the time it's quite an achievement .

The camera work, especially during the final battle didn't seem excessive to me.
 
I rewatched Spider Man, and I think it's underrated ( especially compared to its sequel). Given the state of technology at the time it's quite an achievement .

The camera work, especially during the final battle didn't seem excessive to me.
Most of the fight is well shot and choreographed, but that one gut punch has that jump cut edit done in the most needlessly handled fashion.

Cinematic Spider-Man films as a whole -with that gut punch and 'Oh' moment as notable exceptions- have good cinematography and editing many cinematographers and editors should learn from.

And the first Sam Raimi Spider-Man movie is simply the best not only in its trilogy, but among all live action Spider-Man flicks.
 
I have always found the Raimi S-M films... Good, but... Overrated by the fandom. It's a more than valid version and it's more than serviceable but... I'm not sure I buy the characters as full fledged three dimensional characters. Peter is just a sad sack schlub for us to project ourselves onto and for Raimi as a storyteller to abuse. That's ALL he's defined as before the bite and the rest of the film he doesn't really grow much beyond that. In fact... The whole Raimi series is not about any growth or change for Peter. He's a schlub blank slate at the start and one at the end. Yeah, the story TELLS me he learns something but again, it's never apparent how these supposed life lessons change his nature or reactions as a character. This Spidey is only mildly funny at best as well, and while there's some humor spread throughout the films... Man is it ever broad. Fine, have JJJ be broad but EVERYTHING is this silly slapstick. Even in the year 2002 it was apparent that Raimi had not been in a high school for over 30 years. The MJ and Peter stuff is geek wish fulfillment that now to me just feels empty. There's no real connection between these characters. Yes... Some of the stuff I can absolutely take at face value no questions, like Cliff Roberts' Ben and Harris' May. And while it certainly covers the classic origin well and with sincerity... I'm not sure that sincerity serves it well when it's employed elsewhere in the movie. And since day one I've felt it has a very awkward and abrupt ending with the ****TIEST most contrived reasoning (and acting in that moment) to draw out drama with the whole "Don't tell Harry" nonsense.

It encapsulates the origin well and the production values are tops and is realized the world of Spidey on the big screen for a modern audience well... But I can't say that I feel it's aged as well as the Superman: The Movie has for myself, despite lots of similarities and the obvious inspiration the Donner film had on Raimi.
 
The raven was a suspense thriller that was well written, with a good pace and fantastic acting.
 
Star Wars: The Last Jedi is honestly a great movie.
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Black Rain is Ridley Scott's 4th best film, behind Alien, Blade Runner and KoH. And it's one of the best 80s thrillers.

Watched it last night for the first time in like a decade. Man this film is the dogs dangly bits. Yea it's a bit dated... but that's part of the charm. It just oozes gritty 80s bad ass-ness.

Has Michael Douglas ever been more rough neck? I totally bought him as this cocky, dirty cop who has finally bitten off more than he can chew, and has to actually grow as a person and redeem himself (with the help of Japanese honour). Andy Garcia is fantastic as a bright spark in the dark who is snuffed out in a brutal way. Kate Capshaw is stunning and surprisingly, not annoying as ****. Takakura's cop is reserved, cool and plays an integral role in Douglas' redemption. Natsuda's brutal villain Sato is brilliantly psychopathic and a perfect foil to the good guys.

I just love how real and lived in the world is (which is Scott's forte' really) and how it was actually filmed in Japan with genuine Japanese actors etc. The detail Scott shows with the Japanese culture, both the light and dark, is just brilliant.

And Hans Zimmer's score? **** me its epic. Back when Zimmer could do real melodies, as well as kick ass thumping beats for action. Those with keen ears will recognise precursors for his TDKT work here.

Overall I just think it's a criminally underrated film. Well worth a revisit.
 
Black Rain is Ridley Scott's 4th best film, behind Alien, Blade Runner and KoH. And it's one of the best 80s thrillers.

Watched it last night for the first time in like a decade. Man this film is the dogs dangly bits. Yea it's a bit dated... but that's part of the charm. It just oozes gritty 80s bad ass-ness.

Has Michael Douglas ever been more rough neck? I totally bought him as this cocky, dirty cop who has finally bitten off more than he can chew, and has to actually grow as a person and redeem himself (with the help of Japanese honour). Andy Garcia is fantastic as a bright spark in the dark who is snuffed out in a brutal way. Kate Capshaw is stunning and surprisingly, not annoying as ****. Takakura's cop is reserved, cool and plays an integral role in Douglas' redemption. Natsuda's brutal villain Sato is brilliantly psychopathic and a perfect foil to the good guys.

I just love how real and lived in the world is (which is Scott's forte' really) and how it was actually filmed in Japan with genuine Japanese actors etc. The detail Scott shows with the Japanese culture, both the light and dark, is just brilliant.

And Hans Zimmer's score? **** me its epic. Back when Zimmer could do real melodies, as well as kick ass thumping beats for action. Those with keen ears will recognise precursors for his TDKT work here.

Overall I just think it's a criminally underrated film. Well worth a revisit.

I’ve never seen this movie but it’s always been one I meant to get around to. Thanks for reminding me. I always thought the movie poster looked cool.
 
Black Rain is Ridley Scott's 4th best film, behind Alien, Blade Runner and KoH. And it's one of the best 80s thrillers.

Watched it last night for the first time in like a decade. Man this film is the dogs dangly bits. Yea it's a bit dated... but that's part of the charm. It just oozes gritty 80s bad ass-ness.

Has Michael Douglas ever been more rough neck? I totally bought him as this cocky, dirty cop who has finally bitten off more than he can chew, and has to actually grow as a person and redeem himself (with the help of Japanese honour). Andy Garcia is fantastic as a bright spark in the dark who is snuffed out in a brutal way. Kate Capshaw is stunning and surprisingly, not annoying as ****. Takakura's cop is reserved, cool and plays an integral role in Douglas' redemption. Natsuda's brutal villain Sato is brilliantly psychopathic and a perfect foil to the good guys.

I just love how real and lived in the world is (which is Scott's forte' really) and how it was actually filmed in Japan with genuine Japanese actors etc. The detail Scott shows with the Japanese culture, both the light and dark, is just brilliant.

And Hans Zimmer's score? **** me its epic. Back when Zimmer could do real melodies, as well as kick ass thumping beats for action. Those with keen ears will recognise precursors for his TDKT work here.

Overall I just think it's a criminally underrated film. Well worth a revisit.

While I don't think it's his 4th best film I do agree with you at just how good it is and I think a lot of younger people have not seen or maybe even heard of it.

As for Hans Zimmer's score. Yeah, you can definitely hear some parts he ended up re-using/altering for Batman Begins and TDK. 16:30 mark is clear as day. When Batman is in the Tumblr racing to get Rachel back to the Batcave after Crane drugged her. Really an overall great score.

 
Yea Deck, definitely check it out if you get s chance.

And glad to see I'm not alone lol. It's always seemed like the forgotten black sheep of Scott's films.

I love the Japanese influence in Zimmer's score. The part near the 8 and a half minute mark in that suite gets me hyped!
 
I have always found the Raimi S-M films... Good, but... Overrated by the fandom. It's a more than valid version and it's more than serviceable but... I'm not sure I buy the characters as full fledged three dimensional characters. Peter is just a sad sack schlub for us to project ourselves onto and for Raimi as a storyteller to abuse. That's ALL he's defined as before the bite and the rest of the film he doesn't really grow much beyond that. In fact... The whole Raimi series is not about any growth or change for Peter. He's a schlub blank slate at the start and one at the end. Yeah, the story TELLS me he learns something but again, it's never apparent how these supposed life lessons change his nature or reactions as a character. This Spidey is only mildly funny at best as well, and while there's some humor spread throughout the films... Man is it ever broad. Fine, have JJJ be broad but EVERYTHING is this silly slapstick. Even in the year 2002 it was apparent that Raimi had not been in a high school for over 30 years. The MJ and Peter stuff is geek wish fulfillment that now to me just feels empty. There's no real connection between these characters. Yes... Some of the stuff I can absolutely take at face value no questions, like Cliff Roberts' Ben and Harris' May. And while it certainly covers the classic origin well and with sincerity... I'm not sure that sincerity serves it well when it's employed elsewhere in the movie. And since day one I've felt it has a very awkward and abrupt ending with the ****TIEST most contrived reasoning (and acting in that moment) to draw out drama with the whole "Don't tell Harry" nonsense.

It encapsulates the origin well and the production values are tops and is realized the world of Spidey on the big screen for a modern audience well... But I can't say that I feel it's aged as well as the Superman: The Movie has for myself, despite lots of similarities and the obvious inspiration the Donner film had on Raimi.
Agreed.

And I'll go even more unpopular on this and say that, as I just saw Far From Home, The Amazing Spider-Man remains my favorite live-action Spidey movie to date.
 
I watched two of the Paul W. S. Anderson adaptions of Resident Evil. You can ask why do I do this to myself, and my answer will be I enjoy them to a certain degree.

But my God, they are too heavy in some of the worst choices modern cinematographers make with shaky camera views and jump cut edits, and they are done worse 10 folds. They are bad to a degree where you can't see what happens during some of the action scenes, and that extends to climax battles.

I watched an action Kung Fu movie from the 70s, camera operator moved around to capture the full fight without shaking the camera while doing to, and without much jump cut edits. It's done in a simple and effective manner that made action crisp, clear, and easy to follow, and it aged well.

I don't mind jump cuts when there aren't many of them and they allow you to see a clearer close up shot of some key action moments and make it feel more like you are there, but some edits are overdone with it, like the punch to the gut Green Goblin gives Spider-Man in the final battle in the first Sam Raimi Spider-Man film. I understand why it can be done sometimes for action sequences that involve flying or high jumps, but have a reasonable amount of restraint.

I hate shaky camera entirely though, there should be no excuse for it, not even a shot of tremor or a turbulence for the scene, especially when the shot you think of is filmed in house.
I think shaky cam carnage was only in the last two. Very first film was shot very well. First film's cinematography somewhat reminded me of prime Cameron films - T1, Aliens.
 
Black Rain is Ridley Scott's 4th best film, behind Alien, Blade Runner and KoH. And it's one of the best 80s thrillers.

Watched it last night for the first time in like a decade. Man this film is the dogs dangly bits. Yea it's a bit dated... but that's part of the charm. It just oozes gritty 80s bad ass-ness.

Has Michael Douglas ever been more rough neck? I totally bought him as this cocky, dirty cop who has finally bitten off more than he can chew, and has to actually grow as a person and redeem himself (with the help of Japanese honour). Andy Garcia is fantastic as a bright spark in the dark who is snuffed out in a brutal way. Kate Capshaw is stunning and surprisingly, not annoying as ****. Takakura's cop is reserved, cool and plays an integral role in Douglas' redemption. Natsuda's brutal villain Sato is brilliantly psychopathic and a perfect foil to the good guys.

I just love how real and lived in the world is (which is Scott's forte' really) and how it was actually filmed in Japan with genuine Japanese actors etc. The detail Scott shows with the Japanese culture, both the light and dark, is just brilliant.

And Hans Zimmer's score? **** me its epic. Back when Zimmer could do real melodies, as well as kick ass thumping beats for action. Those with keen ears will recognise precursors for his TDKT work here.

Overall I just think it's a criminally underrated film. Well worth a revisit.


Black Rain is a favourite of mine from the 80s. Haven't seen it in ages, so would be interested to see if it held up as well as it had in my memories. Douglas is really in his element, foreshadowing his character in Basic Instinct.

On that note I've always thought that Rising Sun was terribly underrated - Snipes and Connery are more Holmes and Watson than Riggs and Murtaugh but its good fun.
 
Black Rain is Ridley Scott's 4th best film, behind Alien, Blade Runner and KoH. And it's one of the best 80s thrillers.

Watched it last night for the first time in like a decade. Man this film is the dogs dangly bits. Yea it's a bit dated... but that's part of the charm. It just oozes gritty 80s bad ass-ness.

Has Michael Douglas ever been more rough neck? I totally bought him as this cocky, dirty cop who has finally bitten off more than he can chew, and has to actually grow as a person and redeem himself (with the help of Japanese honour). Andy Garcia is fantastic as a bright spark in the dark who is snuffed out in a brutal way. Kate Capshaw is stunning and surprisingly, not annoying as ****. Takakura's cop is reserved, cool and plays an integral role in Douglas' redemption. Natsuda's brutal villain Sato is brilliantly psychopathic and a perfect foil to the good guys.

I just love how real and lived in the world is (which is Scott's forte' really) and how it was actually filmed in Japan with genuine Japanese actors etc. The detail Scott shows with the Japanese culture, both the light and dark, is just brilliant.

And Hans Zimmer's score? **** me its epic. Back when Zimmer could do real melodies, as well as kick ass thumping beats for action. Those with keen ears will recognise precursors for his TDKT work here.

Overall I just think it's a criminally underrated film. Well worth a revisit.

Agreed on all points.


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@Roose Bolton what's your opinion on this Sir Ridely film from a bygone era?
 

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