What was the last film you watched?

[Mel O'Drama]

I felt on a few occasions that Nigel Hawthorne was being a bit hammy in how he was running around and shouting in a very in your face, unsubtle portrayal of mental illness. I did wonder whether he had played the role on stage and was repeating his theatrical performance which needed to be bigger and bolder to fill a theatre, or maybe that was what the script demanded because of its theatrical origins.

Looking it up, Nigel had appeared in the stage play The Madness Of George III* before playing the same part in the film adaption, so I wouldn't be surprised if both were true.

It was a big performance, and the entire film feels theatrical which I suppose I factored in when I watched. But I also took the symptoms of his mental illness (the nature of which, as I remember, wasn't too specific in the film) at face value and assumed there was at least some accuracy in it. It's interesting to see it's treated quite differently in the Netflix series.



* Something that made me smile was the reason for the title change. It was partly because the director felt it important to stress royalty to the intended international audience by having the word "King" in the title, but also partly because there was concern that Americans might see the title "The Madness Of George III" and be put off watching thinking it was a sequel and they'd missed the first two films.

There were things in the film which I didn't entirely like but I was more charitable about because I felt my opinion was coloured by comparing it to the Netflix series.

I probably wouldn't have made that observation had I not seen Queen Charlotte in which the mental health of the king was portrayed in a much more sympathetic and sensitive way which made him far more likeable and, in my opinion, more believable. So although I said it's not always fair to compare different productions, it's sometimes interesting to do so.

Good point. And I suppose each version comes with its own balance of researched historical accuracy and dramatic licence.

 

[Angela Channing]

Prom Pact (2023)

I couldn't get a more different film from the last one I watched which was a critically acclaimed, multi Oscar nominated period drama. Prom Pact is a light romcom set in a high school which is probably aimed primarily at girls and young women but I ended up liking it way more than I expected.

Prom Pact is a Disney movie that follows Mandy, a feminist who dreams of going to Harvard University, and her best friend Ben, who is awkward around other people. They decide to go to prom together as friends, but things get complicated when Mandy tries to befriend Graham, the son of a US senator, to get him to ask his father to write her a reference. Along the way, Mandy learns that there is more to life than getting into her dream university, and that love, friends and loyalty can be more important.

It's all cliched romcom stuff but a lot of fun.

 

[supermanfan]

The og amitty vill horror

 

[Mel O'Drama]

E. T. The Extra-Terrestrial (1982)

For my entire adult life I've been meaning to re-watch this, but never got round to it until last night. All these years later it's still a beautiful, magical film.

A couple of things in particular struck me about it last night.

First was the choice to make it a kids' adventure by showing things almost entirely from their POV. For the first three quarters of the film the only adult face we see is that of Mary. All other adults are either shown from waist down (like the teacher during the frog dissection scene) or completely covered up (the hazmat suit wearing agents who invade the family home) or in the shadows or in extreme long shot. This doesn't shift until Keys arrives and E.T. is no longer just the kids secret. This choice never registered with me as a child, but it leapt out at me last night.

Secondly, I was surprised at how aesthetically dark it is. Many of the scenes take place at night, in shade or in darkened rooms. This all gives the film an air of mystery and secrecy.

Steven Spielberg always presents suburbia in an interesting way and I love the way it's done here. The juxtaposition of the newly broken family in the house which is the image of middle class comfort works well. There's also a big heart and a great deal of emotional intelligence (at one point it occurred to me that if Knots Landing had done an alien storyline, this is pretty much what we'd have got). Themes of grief and loss and trust are all present and correct.

I also noticed (for the first time) a couple of familiar Spielberg techniques used in this film... most notably the dolly zoom:

And an axial cut just before the flying sequence (at 1:05 here):

For all the limitations of the time with SFX, E. T. himself is as effective as ever. He has such a brilliantly expressive face that every look is filled with meaning.​

 

[supermanfan]

Backdraft

 

[Mel O'Drama]

The Breakfast Club (1985)

​

This one's been on my radar for quite some time. I know it's a favourite of our @Ome's which is a good enough reason to delve into this one.

I'm always intrigued by a film that draws in different opinions...

The Breakfast Club - was probably a ground breaking film in the 1980s but looks a bit dated now.

I've never liked THE BREAKFAST CLUB and I'm not sure I've ever watched it in its entirety.

I used to love THE BREAKFAST CLUB, but I won't watch it anymore because the language is too rough.

I love " The Breakfast Club" it is my favourite. I still watch it from time to time.

Another reason for me to watch!


Going into this one, I knew it was something of a cult Eighties favourite and a Brat Pack film (of which I don't believe I've seen any, with the possible exception of portions of Weird Science), so that felt exciting. I also knew it was a John Hughes film which excited me less since the JH projects I've seen in part or full (Ferris Bueller; Home Alone; National Lampoon's Something Or Other) haven't done anything for me.

Like Fame (which I love) and American Graffiti (which I may also never have seen), this conjures up an image of hormonal teens thrust into an intense situation leading to deep discussions and possibly high emotions. I craved a journey into that world, and to be reminded of some of the extremes of feeling that come with being in one's late teens.

There's lots about this film that I loved. The unapologetically ugly way the characters act. The conflict. The anger. In particular I appreciated the lengthy, real-time, verbose scenes which gave a very character-driven piece. And the music, of course.

It missed the mark for me slightly when it came to getting me to feel something. It didn't successfully get me to empathise with the kids and their feelings. In fact I found myself watching their tearful confessions with almost complete objectivity. I could see that the heart was there, but personally I never quite got to it.

If there's a reason for this besides John Hughes's direction, I'd put it down to where I am in my life having this first watch. I'm old and jaded and cynical. I suspect if I'd first watched this as a teenager or even twenty-something when my heart was more open and my hormones exposed it would have been a much more emotional and meaningful experience. Without the benefit of any kind of nostalgia, I probably didn't get the best from the film.

That said, it was a good film with great performances from the ensemble. I'm really glad I finally watched it, and I can see what all the fuss is about (even if it's mostly objectively). I'd certainly be open to watching more Brat Pack/John Hughes films at some point.

 

[Angela Channing]

If there's a reason for this besides John Hughes's direction, I'd put it down to where I am in my life having this first watch. I'm old and jaded and cynical. I suspect if I'd first watched this as a teenager or even twenty-something when my heart was more open and my hormones exposed it would have been a much more emotional and meaningful experience. Without the benefit of any kind of nostalgia, I probably didn't get the best from the film.

This got me thinking. When I described the film is being a bit dated, maybe I was wrong and the film is still contemporary and relevant, but it's me that's dated!

 

[Mel O'Drama]

Strictly Ballroom (1992)

I've been curious about this one for a long time. Not being a fan of musicals or dancing films I struggled to get beyond the title and poster back in the day. I also hesitated upon realising this is a Bad Luhrmann film. For some reason I've never wanted to watch any of his films since they appear to be too heavily stylised and gaudy and I feared they might be style over substance.

But I also love Aussie humour and I know that there were some great Australian films coming out around this time (Priscilla's great, and Muriel's Wedding would be a Top Ten film of mine). I didn't want to miss out.

I felt a little edgy watching the first ten or fifteen minutes where all the dialogue came in time with rhythms of the various dances and there were various documentary style "talking to camera" scenes cutting away to flashbacks of the story. But once the story was underway and people started speaking normally I breathed a sigh of relief and enjoyed it.

As it turns out, I loved this film. The humour was great. The dancing was energetic and accessible. The story was compelling - its familiar ground a tribute to the likes of Grease, Dirty Dancing and West Side Story but presented in a creative and original way. And, yes, Baz Luhrmann's incredible composition made this the visual equivalent of feasting on an expensive box of chocolates.

Familiar faces included Muriel Heslop's future father (sporting Trump-esque hair) and even stiff old Nick Benson from Sons And Daughters as a glamorous dancing champ.

I'm still no fan of dancing films, but this is a definite exception to the rule.

 

[Angela Channing]

Paint (2023)

I felt a bit cheated by this film or maybe I should have read a description of the film before watching it. The poster shows Owen Wilson wearing a permed wig and dressed like Bob Ross so I thought this was going to be a biopic about the star of the TV series The Joy of Painting but instead it's a lame comedy about a character called Carl Nargle who clearly was inspired by, but not based on, Bob Ross.

Carl Nargle, a television painter on a public service broadcaster who faces competition from a younger and more talented artist named Ambrosia. The film follows Carl's attempts to reclaim his fame while navigating his crumbling relationship with his partner and a affair with a groupie. For a comedy it was very short on laughs and the weak plot was so painfully slow it was like watching paint dry. I should have given this film the brush off.

 

[Angela Channing]

AIR (2023)

It’s very seldom I leave the movie theatre and am left speechless. As an avid sports fan, I have to say that this may very well be the best sports movie I’ve ever seen. The story of how a struggling shoe company called NIKE put it all on the line and all in the hands of an 18 year old rookie named Michael Jordan is quite intriguing. It’s an inspiring film, with terrific acting and some well placed, but not overdone, humor. This movie made me a little emotional I have to admit. If you grew up in the 80s like I did it’s a nice walk down nostalgia lane.

@Angela Channing I have a feeling you will be seeing this movie soon? I patiently await your review.

Well, I finally got around to watching.

Air (2023)

A film about a training shoe on paper sounds a bit dry but this film is anything but that. In fact it's an exciting and feels a bit like a thriller in it's pacing and intrigue. It really is superbly made considering it is a just film about a shoe and Ben Affleck did a fantastic job in directing this. He far better behind the camera than he is in front of it (Batman vs Superman anyone?)

More broadly the film is the story of how struggling sportswear company Nike signed a young and upcoming basketball player called Michael Jordan and created the Air Jordan basketball shoe. The major sportwear shoe brands (Adidas, Converse and Nike) all have identified Michael Jordan as the player they most want sign to help boost their shoe sales. Michael Jordan is already favouring Adidas but Nike desperately need to sign him so they can become a genuine rival to the bigger sportswear brands. Nike can't compete with money so they have to be more creative in how they sign the basketball star.

It's the tension and the rivalry between the companies that make this film so compelling. It draws you in and holds you attention until the very end. The only thing I didn't like was the decision not to show Michael Jordan. Every time he was on screen it was brief, shot from a distance or he had his back to the camera and sometimes all three. I think he only said one word in the entire film which was "hello" on the other end of a phone. How can you make a film about Michael Jordan and not have Michael Jordan in it? Ben Affleck said it was because Michael Jordan is so well known no one could do him justice. Whatever the reason, this decision made the scenes with him feel like they didn't have the energy they could have had. However, that's a minor gripe for what was a very good film.

 

[Seaviewer]

Bye Bye Birdie (1963)
Musical lampooning the hysteria surrounding Elvis Presley's induction into the army.
This is one of those films I can watch over and over.
Apparently, the screenplay by Irving Brecher diverges quite markedly from its Broadway source so the film is unloved by purists.
Brecher was also wrote two the Marx Brothers' movies and some of the dialogue and wacky situations would not be out of place there - which may be why it appeals to me so much.

 

[Angela Channing]

Big George Foreman (2023)

This biopic about the life of former world heavyweight boxing champion George Foreman is a real cracker. His life is like a Hollywood plot anyway so it always going to be an interesting film. In some ways the story is more fantastic than fiction in how he regained the heavyweight title at the relatively old age of 45 and after retiring from boxing 10 years previously, it's something that Stallone didn't dare do with Rocky Balboa because he thought it wasn't believable (although this ending was filmed and made the DVD extras).

What I particularly liked about this film was how it was straightforward and non-gimmicky, a bit like George himself. The plot is told in a linear fashion and there are no flashbacks and flash forwards which seems to be overused in many biopics these days. The cast is excellent and the boxing scenes have energy and excitement. I absolutely loved this film.

 

[Angela Channing]

The Super Mario Bros. Movie (2023)

I've never played The Super Mario Bros. video game so the references to its source material were completely lost on me. However, you don't need to know anything about the video game franchise to enjoy this film. It's about brothers Mario and Luigi, Italian-American plumbers who are transported to an alternate world and become involved in a battle between the Mushroom Kingdom, led by Princess Peach, and the Koopas, led by Bowser. The genius of the film is that it is not just about the characters from game but it is a film of the game that feels both like a video game and a motion picture. For example, there a scene early in the film when the brothers are running to a plumbing job and they jump over fences, run along fire escapes and dodge objects and visually it looks a lot like video game play. Later on, the brothers have to navigate various tasks and when they complete them the narrative of the story takes them to another challenge which feels a bit like another level of the game play.

I thought it was a entertaining and enjoyable film and was a great example of how to produce a successful video game adaptation that works on its own terms and delivers a satisfying film experience. It will appeal even more strongly to fans of the Super Mario games but people like me, who have no prior knowledge of the game, will still appreciate its humour, its quirky style, its originality and the and the adventure in the storyline.

 

[Biggie]

The Perfect Catch.

Based on the book Fever Pitch and a remake of the eponymous movie. A movie I've seen and rather enjoyed.

That said The Perfect Catch was really rather enjoyable. Drew Barrymore turned out a worthy performance.

No new ground was broken here, but a decent rom-com none the less.

The star of the show...the baseball that caught our Drew in the face.

 

[Seaviewer]

Morning Glory (2010)
I'm not sure how to categorise this film. I suppose it could be called a workplace comedy, but that's not really the point. It's not really a rom-com, although it has the trappings of one. There's not really a word for it as far as I know, but when the real connection becomes obvious, the ending is surprisingly emotional.

 

[Angela Channing]

Polite Society (2023)

This film starts out promisingly telling a story of 2 British South Asian girls who have dreams of being and artist and a stunt women only for the older sister to abandon her plans after her parents and the parents of a young doctor arrange for their children to meet with the aim of getting married. This sets up various lines of conflict in the family which would have been interesting to explore but the film then takes and unexpected swerve and becomes almost surreal and totally unbelievable. There is no build up to this so the change in direction is quite jarring It is a comedy so I wouldn't have minded this twist had it been funny or lead to humorous events later on in the film but that didn't happen. It has a Bollywood feel at times but even that can't save this film. It is silly and ridiculous but also sweet and touching so it's not all bad.

 

[Mel O'Drama]

Brighton (2019)

This was a spontaneous watch, based only on it popping up as a suggestion and knowing only a little from the partial description I read (that it was about two couples who return to Brighton 40 years after... something).

Having watched it, I'm not sure I'm any the wiser. It's not a film that can be easily summed up. It might help to know (which I didn't) it's adapted from a Steven Berkoff play called Brighton Beach Scumbags, which perhaps gives more of an idea. A review in The Guardian I read this morning had nothing but bad to say about the film, but then the reviewer also called the characters "potty mouthed" and it's hard to take any adult seriously after that.

Without overthinking or overanalysing it, I thoroughly enjoyed it. The characters speak and behave in objectionable ways at times, so it's impressive that I still found them engaging and funny. Racist, homophobic characters (who of course insist that they're neither) are usually antagonists rather than the central characters, so I found this an interesting persepective. My stomach would sink if this group sat anywhere near me in a public space so it's a credit to all that I found myself feeling some kind of connection to them at times. It's not a life-changing film, but it tackled some uncomfortable subjects in a way that's both accessible and entertaining. I'm glad I watched it.

 

[Seaviewer]

Hope Springs (2012)
Basically two hours of couple therapy. It should be more moving than it is, but I never forgot that they were acting. Meryl Streep is undeniably technically proficient, but too studied for my liking, and Tommy Lee Jones and Steve Carell seemed to take their cues from her.

 

[Mel O'Drama]

Yesterday I had a matinee and an evening film, starting with...

Five Corners (1987)

This came up in my Prime suggestions, with a contemporary-looking image (the top half of the one above) and was listed as being made in 2022. Excited at the thought of watching a new Jodie Foster film, I dived straight in and spent ten or fifteen minutes marvelling at how authentically vintage it looked (my partner and I actually discussed what cinematographers might have done to make it look less sharp and the use of coloured filters, etc. Then a very youthful Jodie Foster appeared on screen and the penny finally dropped that "2022" was a listing error.

The pacing is leisurely to say the least. It feels rather like dropping in on an episode of a serial where the characters just hang out and don't do very much. All of which makes the occasional burst of violence or threat seem more surprising (and in turn more effective). If The Kids From Degrassi Street had crossbow executions, matricide and animal abuse, Five Corners is probably what we'd get.

In common with my evening film, Five Corners feels like several seemingly unrelated stories that converge as the film goes along (like the guy who pays a pair of random men $5 to take his his fiancée and her friend off his hands. The two women are essentially glue-sniffing versions of Laverne and Shirley).

It's a curious mix of bizarre and heavy, but the performances are excellent, it's refreshingly naturalistic and there's a thick vein of genuine darkness running through it. Five Corners is very clearly nothing like I could have anticipated, but that's not necessarily a bad thing.​

 

[Mel O'Drama]

Last night's film was...

13 Minutes (2021)

The disaster genre is one for which I have a fairly low tolerance. I have to be in the right mood to watch one. This one lured me in when I hovered over the thumbnail and it opened with thunder and lightning in an atmospheric sky.

Fortunately, this is my kind of disaster flick, because there's barely any disaster in it. This film's all about the characters' soapy dramas. Very much like Five Corners, we visit various characters in turn and witness their unrelated lives with little in common but that they all have "issues" and seem to live in a permanent state of crisis and high drama. There's the pregnant teen whose married babydaddy wants her to have an abortion. The gay son afraid of coming out to fundamentalist Christian farmers while taking out his insecurities on his lover - who also happens to be an employee. There is the illegal immigrant couple on the verge of buying a home after saving for a long time.... the list goes on.

We probably get about 78 minutes of introspective drama and another 8 or so of carnage. I can understand this would have disappointed genre fans, but for me this made the film more accessible and interesting than if the ratios had been reversed and we got 78 minutes of CGI cars and cows flying noisily through the air (I watched Twister back in 1997 but remember nothing about it other than all of us falling about laughing whenever someone called out "debris", the American pronunciation of which conjured up images of an invasion of French cheese).

While it does feel a rather "made for TV", the performances are mostly excellent. Thora Birch was a standout (oh my. The annoying little girl from Hocus Pocus now on the verge of potentially becoming a grandmother. How did that happen?). Anne Heche, too, gave a wonderful part as the cold hearted woman judging everyone else while hypocritically espousing Christian values. There are two incredibly ugly moments that made her unforgettable: Early in the film the pregnant girl comes to the clinic where she works, ostensibly to discuss abortion, but Heche's character gives her a scan, forces her to look at the foetus and starts verbally hammering her to keep the baby. Her reaction upon learning of her son's homosexuality is colder still.

While not the most profound film-watching experience, I found this an entertaining enough film. It's a little corny in places and your mileage may vary when it comes to the soapy dramas, but the performances sold me on this one. Rather like Five Corners, this could have been an episode of an ongoing series (as someone currently heavily immersed in Crossroads, another drama with a motel at its centre seems entirely feasible to me), and I'd have been up for revisiting many of these. At risk of spoiling the entire film, pretty much everyone gets away very lightly, which is a little anticlimactic. But the emotional consequences of the non-disaster "stories" are what hang in the air. While arcs come to an end, there's also a sense that much is still unresolved which I found refreshing.