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In an alternate present-day version of Oakland, Cassius "Cash" Green is having a rough life—living in his uncle's garage and struggling to find a job. Strapped for cash and desperate, he lands a position as a telemarketer, but has difficulty getting people to listen to him—until he discovers a magical key to customers' attention: using his "white voice". Cash quickly rises to the top of the telemarketing hierarchy, but risks losing sight of his morals as he achieves greater and greater success.
screenplay by Boots Riley
Rotten Tomatoes: 95%
After Credits Scene? No
The way this works is that you post a review of the best film you watched this week. It doesn't have to be a new release, just any film you have seen over the last seven days that you feel is worth talking about. Here are some rules.
1. Check to see if your favourite film of last week has been posted already.
2. Please post your favourite film of last week.
3. NO TV SHOWS! No sporting events involving cups either.
4. ALWAYS use spoiler tags. Report any comments that spoil recent / little-known films (e.g. Solo, First Reformed, Hereditary) without using the spoiler tag.
5. Comments that only contain the title of the film will be removed!
Here are some great comments from last week's thread:
Before Sunrise - I had always been meaning to watch these films and with it being on Amazon Prime here in the UK I thought i'd give it a shot, especially since I've been writing my own movie and wanted to see how Linklater's dialogue works with such a simple premise. What I got was a movie that felt really authentic in it's execution. I love how the filmmakers weren't afraid of just letting the camera role, like when they are sat on the bus asking each other questions or walking through an amusement park. It captures the mundane nature of everyday tasks but the cameras focus on the two characters lets you focus entirely on what they're saying. I think the biggest praise I could give the film is that it felt like I actually was watching two people learn more about each other as they went on, and the types of things they discuss, as well as the way they say goodbye, is so incredibly reminiscent of my own experiences with former partners. There was no sense of Hollywood exaggeration and that grounded approach elevated the movie to something special. I wouldn't necessarily call it a great movie, and I can't see myself rewatching it, but it's something I appreciate as a realistic look into love and attraction where somehow Linklater created an enjoyable experience despite nothing much actually happening. I look forward to seeing the sequels, which at least according to reviews seem to be on par with the first film.
Wild Strawberries (1957) - Dir. Ingmar Bergman. From what I’ve seen, Bergman deals mainly with 3 themes. Struggling with religious faith and god, existential crisis and death. He showcases these themes through different characters and story, all with their unique characteristics, history and lives, but all struggling with the same things, having a meaningful life and if possible, escaping death. This one is told through the eyes of Isak Borg, played wonderfully by the great and late director, Victor Sjöström. He represents what we all fear, being old and not being at ease with the thought of death, living out all of his emotion only through the rose-tinted glasses of nostalgia, while having nothing, at the very least in the beginning, contemporary that he finds any meaningful emotional connection to. What I find fascinating by character is how much we’re told about blunt coldness, both to his wife and his daughter in law. But throughout the film, I personally saw nothing that resembled this cold and distant man that they kept describing, and only found myself sympathizing with this old man that is still struggling with the struggles that one hopes that one has overcome by the time of that age, but in his case, you get the sense that it has only gone downwards since his childhood, but that is perhaps me buying into the same charming old man persona that his daughter in law describes and doesn’t buy into. There is a sort of a repeating cycle in the movie, where the rigid and coldness is passed on from his mom, through him and to his son. A cycle which I assume is the main reason why the professor’s son, Evald, is so adamant about not having a child. Aside of the self-struggle with the themes mentioned earlier, it is also about the impact that we had and have on those around us, and much like in The Seventh Seal, it is about leaving or doing something meaningful in the short times that we have on this earth, even if it’s as simple as trying to lead a happy life. Outside of the obvious themes that the movie deals with, I found this movie very endearing, and found myself laughing out loud and smiling as often as I found myself sad during the movie, which is a first in my Bergman “watch through”(this movie is the 5th of his that I’ve seen). 10/10
I rewatched the movie Big Fish and this honestly might be my favorite Tim Burton film. This might be one of Tim Burton's more subdued movies. His style actually works in this story about this guy who is estranged from his dying father. Billy Crudup playing the son and Ewan Mcgregor and Albert Finney playing the father at different times. I believe this was Marion Colltiard's (who played Crudup's wife) first movie in the states. Jessica Lange is heartbreaking as the wife of Finney, especially in the later parts of the movie. I love how it's this family drama between father and son, yet Tim Burton's style isn't overbearing at all. It actually works when Finney/Mcgregor is telling stories about his life. It really is a beautiful movie about a dying father and his estranged son. The final moments when Billy Crudup tells Albert Finney how his story ends gets me choked up every damn time. And this cast. Billy Crudup, Albert Finney, Ewan Mcgregor, Jessica Lange, Danny DeVito, Steve Buscemi, Marion Colltiard, and with one line in this movie, out of all people: Miley Cyrus has a cameo with one line, way before the Wrecking Ball days. This movie also has one of my personal Danny Elfman scores, particularly the track "Finale". It simply is just beautiful. Again, this just might be my favorite Tim Burton movie. I kinda miss when he did movies like this and Edward Scissorhands. I hope his Dumbo remake is back to the Tim Burton stuff that I dug when I was younger. But anyway, check this movie out if you can. I just love this movie so much.
For further expansion of the rules, please read this link.
Have fun and play nice!
I want to have a good cry, movies usually help with that. Some of my favourites are Eternal Sunshine of the Spotless Mind, Manchester by the Sea, Room, Good Will Hunting, Leaving Las Vegas, Arrival and Dear Zachary. If you have any suggestions to get the tears going please let me know!
There’s a 300 character limit so I’m guess I’ll share the fact that I’m 2 weeks sober today! /r/movies has helped me keep my mind occupied so thank you 💙
I understand that Dunkirk raked in money and received a boatload of awards. I also generally like Christopher Nolan as a filmmaker. So I was looking forward to seeing Dunkirk.
I just finished watching Dunkirk, and now I have a headache.
The film doesn't have characters, it has people the camera lingers on longer. Its soundtrack is constantly oppressive. It's somehow boring in addition to being oppressive. And the time difference between the three plotlines is confusing and makes it difficult to get a sense of the stakes sometimes.
It's pretty clear that Nolan was trying to capture the oppressive, disorienting nature of war in a film. Nolan is a really good film maker, so he succeeded, which means that Dunkirk is an oppressive, disorienting movie. Unfortunately, the fact that these qualities were intended does not make them good, at least in my view.
Am I missing something? Did you like Dunkirk, and if so, why? I'm genuinely confused here, because I just don't get it.
I'll stick to the basics and pick The Muppets' Star Wars, keeping Mark Hamill as Luke. That leaves Kermit as Han, Miss Piggy as Leia, Sweetums as Darth Vader, Fozzie as Obi Wan, Sam Eagle as Tarkin, Gonzo as Uncle Owen and Camilla as Aunt Beru, Doctor Teeth and the Electric Mayhem as Figrin D'An and the Modal Nodes, Statler and Waldorf as Cornelius and Ponda Baba ("He doesn't like you"), Bunsen as C-3P0 and Beaker as R2-D2.
What do you pick?
Credit on Twitter to @coryjtaylor in conversation with @filmcrithulk.
Yesterday I showed my 14yo The Edge of Tomorrow. In the scene towards the end where Rita says
Listen to me. Listen to me. Neither one of us is getting out of here. Thank you... for getting me this far. You're a good man, Cage. I wish I had the chance to know you better.
I suddenly realised that from Rita's perspective, she's the hero. Up until the battle of Verdun she relived the same day over and over, then this Cage character shows up and in 24 hours gets her close enough to kill the Omega. He's just a side-kick who fulfilled his purpose and will die like countless other people around her.
I told my son that they could make a sequel from Rita's perspective which had only one day in common with this version.
I didn't think of this when watching the movie the first time. It may be that I gained this perspective from reading Scalzi's Redshirts.
What are other movies which have this kind of dynamic?
Rosencrantz & Guildenstern Are Dead has a similar theme I wonder if this is more widespread than I realised.
Edit: On second thought this is a stupid question, since "Everyone is necessarily the hero of his own life story" any well written character should have this perspective. This is what always bugs me about the bad guys' henchmen and which Austin Powers made fun of so brilliantly.
The initial response from most critics for this move was not positive. Reviewers at that time hated the movie for being "'quintessential moron movie of the 80's', 'instant junk', and a 'wretched excess'". Over time, the film was viewed more positively from both critics and viewers. What exactly happened that caused this change of perspective?
For me, Cabin In The Woods and This Is The End could arguably take place within the same universe. If you think about it; Cabin In The Woods ends with the "ancient ones" rising from their slumber beneath the Earth to bring forth the apocalypse. This Is The End opens with the beginning of the apocalypse and centers around egotistical celebrities trying to live out - and live with each other during - the apocalypse. Although not canon, This Is The End could easily be the continuation of Cabin In The Woods not just because of the apocalypse, but thematically as well.
Cabin In The Woods is a satirical take on the horror film genre, with each element of the film representing horror tropes and cliches. For all intents and purposes, it's an attack on Hollywood and the recycled ideas that currently exist, or have existed within the horror film genre. It makes sense that the "continuation" acts as a literal attack on Hollywood, with the main characters being the people responsible for the tropes we see in horror films today (the "people" being celebrities in general).
What do you think? What films do you pretend take place in the same universe?
In 1978 ABC decided to engage in the practice of 'wiping'* one last time. While it freed up space and saved money on expensive broadcast tapes, the process of designating what programs would be sacrificed was rushed. Many of ABC's made-for-TV films, a staple of the network, were cleared for re-use despite being recent productions with no other copies in existence in some cases. All but a few of these originate from the network's late-night film series Wide World of Mystery.
(For more specific info on these, I made a series overview here: WWOM: Complete Film List )
Some of these are likely gone forever and have been since those prints were erased in 1978. The final broadcasts of a few were so long ago they pre-date the release of VHS and Beta! Home tapes would have to been made on older formats like vx, U-matic and others.
Others had survived via syndication copies and/or kinescopes made for foreign broadcasts but most of these have long since disappeared. Similarly, most homemade recordings of these films were undoubtedly lost, reused or simply thrown away ages ago.
Still, there's always a chance. Even turn-of-the-century novelties show up alive and well once in a while. If anyone has tapes of these, please...post here or at Classic Horror Film Board. Quality is unimportant. Barely watchable copies are still better than none at all.
These are also listed with the year they last aired on TV in the U.S. An asterisk indicates a film that is known to exist in an archive but hasn't been seen otherwise (aka: not technically lost, but you'll still never get to see it).
AND NO ONE COULD SAVE HER (1973)* 1994
AND THE BONES CAME TOGETHER (1973)\* 1974
A BEAUTIFUL KILLING (1974) 1976 (1980 in Australia)
THE BLACK BOX MURDERS (1975) 1977
THE BOOK OF MURDER (1974) 1981
THE BREAK (1974)\* 1982 (1990 in Canada)
May have aired during ONTV Chicago's heavily bootlegged farewell film marathon in 1985.
THE CENTERFOLD MURDERS (1975) 1982
Circulated in the trading community for years afterward. Likely to exist but needs to be preserved while possible.
CHANT OF SILENCE (1973) 1975 (1980 in Aus.)
COMPANIONS IN NIGHTMARE (1968) 1991
CURSE OF THE MOONCHILD (1972) 1977
Appeared once in a 1977 Cedar Rapids, Iowa TV listing but was probably never actually filmed.
THE DEADLY VISITOR (1973) 1978
THE DEADLY VOLLEY (1975)\* 1977 (1982 in Aus.)
DEATH IS A BAD TRIP (1974) 1976 (1977 in Aus.)
DEMON, DEMON (1975) 1978 (1986 in Aus.)
DISTANT EARLY WARNING (1975) 1978 (1988 in Aus.)
A GIFT OF TERROR (1973)\* 1976 (1980 in Aus.)
HALFWAY TO DANGER (1975) 1977 (1982 in Aus.)
An incomplete print exists in archive.
HARD DAY AT BLUE NOSE (1974) 1975 (1980 in Aus.)
THE HAUNTING OF PENTHOUSE D (1974) 1977
THE HAUNTING OF ROSALIND (1973)\* 1977
THE HOUSE AND THE BRAIN (1973)\* 1976
HOUSE OF EVIL (1974) 1975 (1977 in Aus.)
THE IMPERSONATION MURDER CASE (1975)\* 1994
LEGACY OF BLOOD (1974) 1993
A LITTLE BIT LIKE MURDER (1973) 1982
MOVING TARGET (1973) 1982
MR. AND MS. AND THE BANDSTAND MYSTERY (1975)\* 1982
MR. AND MS. AND THE MAGIC STUDIO MURDERS (1975)\* 1977
MURDER AND THE COMPUTER (1973) 1976 (1980 in Aus.)
MURDER BY PROXY (1974) 1978 (1980 in Aus.)
THE MURDERERS (1973) 1977
MURDER IMPOSSIBLE (1974)\* 1975 (1991 in Aus.)
MURDER IN THE FIRST PERSON SINGULAR (1974)\* 1976 (1990 in Aus.)
MURDER WORKS OVERTIME (1974) 1975 (1980 in Aus.)
MYSTERY AT MALIBU (1975) 1977 (1982 in Aus.)
NICK AND NORA (1975) 1977 (1983 in Aus.)
NIGHTLIFE (1973) 1985
May have also aired during ONTV Chicago's farewell film marathon, 1985.
NIGHTMARE STEP (1973) 1975 (1977 in Aus.)
NIGHT TRAIN TO TERROR (1973) 1975 (1980 in Aus.)
THE NORMING OF JACK 243 (1975) 1978
THE NURSE KILLER (1975) 1977 (1982 in Aus.)
PLEASE CALL IT MURDER (1975) 1994
PLEASE STANDBY FOR MURDER (1975) 1982
POLICE HEADQUARTERS (1974) 1975
A PROWLER IN THE HEART (1973) 1997
ROCK-A-DIE BABY (1975) 1977 (1993 in Aus.)
THE SATAN MURDERS (1974) 1981
THE SCREAMING SKULL (1973) 2010 (Last color broadcast unknown)
A B&W kinescope survives.
SHOCK-A-BYE BABY (1973) 1976
SONG OF THE SUCCUBUS (1975)\* 1977 (1990 in Aus.)
SORORITY KILL (1974)\* 1990
THE SPACE-WATCH MURDERS (1978) 1978
THE SPY WHO RETURNED FROM THE DEAD (1974) 1976
THE SUICIDE CLUB (1973) 1995
TERROR IN THE NIGHT (1976) 1977
TIGHT AS A DRUM (1974)\* 1977 (1980 in Aus.)
TOO EASY TO KILL (1975) 1978
THE TWO DEATHS OF SEAN DOOLITTLE (1975) 1977
VIOLENCE IN BLUE (1975) 1977 (1982 in Aus.)
VISIT FROM A DEAD MAN (1975) 1977
*NOTE: ABC confirmed this years later, but they were basically forced to due to questions about evening soap The Edge of Night, episodes of which were also erased at the time. No other productions were specified and the network has never commented on (or even acknowledged) these films in the past 40 years.
Perhaps if they had, home recordings would've been kept and duplicated rather than tossed in the garbage by someone who had no reason to think they might possess the only existing copy of a major network's movie. Instead, some were so forgotten that I could find no mention of them anywhere outside of 1970s TV Guides and newspaper listings! No Google hits, no reference books, nothing. Needless to say, I'm not exactly optimistic about their survival status today. :(
There are some movies that lost a lot of their content/character development because of the time constraint. This usually leads to important moments being taken out.
Which movie or series of movies would be better as a TV show?
For me, the Harry Potter movie series might have been better as a TV show.
We all know the way Hollywood works. Once an actor proves themselves playing one type of character, studios want nothing more than to cast them as the same character over and over-again. Who’re some actors that you’d like to see receive the opposite treatment, and how?
For example, I’d love to see Michael Stuhlbarg play a really grimy, sinister redneck sorta character, as opposed to the intellectuals/eccentric/put-together characters he plays(wonderfully, I might add!).
The Equalizer 2
Unfriended: Dark Web
Teen Titans Go! To The Movies
Mission: Impossible - Fallout