What was the last film you watched?

[Seaviewer]

Predator: Badlands (2025)
I'm not an aficionado of the Predator films but I thought this one might be interesting because it casts the titular character as the protagonist instead of nemesis. Even more interesting is that it places him firmly in the Alien universe, complete with synths, a Mother computer and Weyland-Yutani shenanigans. It all makes for a sequel to Alien Vs Predator much better than the official AVP2 even though the aliens themselves are absent.

 

[Mel O'Drama]

Election (1999)

This isn't a film I noticed at the time it was released. The only context it's come on to my radar has been in the last decade, when I discovered the soundtrack featured a song by one of my favourite singers that can't be found anywhere else (I still haven't bagged a copy). Even then, I hadn't really thought about the film, and even when I watched last night I'd forgotten about the association until the end credits when said song played.

From the poster, I wasn't sure about the tone of the film. I really wasn't up for a Nineties high school broad comedy, so I first read the "Reception" section on the film's Wikipedia page (helpful to get an idea of what to expect, usually spoiler-free) and it looked more promising as a political satire (it also mentions that this is said to be Barack Obama's favourite political film).

I confess to being concerned at seeing it was an MTV Production, fearing a busy, noisy, overly colourful film that played out like an extended late-Nineties music video. I needn't have worried. It is very stylised, but the techniques used create visual interest without overdoing it. In terms of soundtrack, the score is a tad on the quirky side which works for the film, even though it isn't one I would care to play at home or in the car. The songs in the film are a curious mix of very Nineties alternative and more traditional, older songs from the likes of Donovan. There's that elusive Mandy Barnett song I mentioned, and Mandy's With My Eyes Wide Open plays in the background of a diner scene (this made me laugh out loud since McAllister's eye had been stung by a bee, swelling the lid shut during this scene. It was a nice, subtle touch).

Matthew Broderick is great here. It's probably the best performance I've seen of his (not that I've that much to compare it against), and Reese Witherspoon essentially plays Lisa Simpson. With a touch of the Tracy Corkhills since she'd had a fling with a teacher, leaving her with a reputation in certain quarters (Broderick's character resents Witherspoon's character because his friend lost his job and family once his gross misconduct came to light).

Performances are good all round. There are lots of familiar faces spanning several eras. Of the younger cast, the most familiar face was Larry, the young kid who initially counts the ballots correctly. I was pleased when I finally placed him as the lead from Final Destination 5 as it briefly distracted me. There are soapy connections with the adults. Matthew Broderick's wife is young Miss Ellie from Dallas: The Early Years (formerly known as Meredith, PWC's researcher from Knots). And Reese Witherspoon's mother is Colleen Camp who almost shot JR. It's a relatively small role, but her character makes sense of her overachieving daughter. In effect, Camp is playing Patricia Shepard here rather than Kristin.

Even though it's all held together by the thread of one key storyline there's a lot going on. There are also some nice surprises, like the jock character being the nicest and most sensitive of them all. It's a very entertaining film, and I'd be up for watching it again as I'm sure there will be details I will notice or appreciate more on a rewatch.

 

[Biggie]

Man Of Steel 2013.

Given the choice of saving the planet Earth from evil space faring man's and that or bedding Amy Adams..
We'd all be ghosts.

This movie is a whole new level of stupid. It's dreck. But Amy, as ever, steals the show as Lois Lane.

The star of the show.... whoever shaved Superman, as he'd have a super beard!

 

[Mel O'Drama]

I've never seen Working Girl (which I remember being huge at the time). And any film with Sigourney Weaver has to be worth a peek.

This has now been remedied...

Working Girl (1988)

​

I remember this film being fairly big at the time of release, but have never got round to watching it even though it looked my cup of tea. About the only things I knew were that Melanie Griffith was the main character and Sigourney Weaver played her bitch of a boss.

As the opening titles rolled, I found myself more interested with every name that appeared. There are so many well-known names (some of whom were lesser-known at the time).

Harrison Ford got top billing, and I'd forgotten he was in it until I saw the thumbnail image. Alec Baldwin is nicely sleazy as the dismissive, controlling love interest we just know won't be end game. Kevin Spacey has a cough and a spit as another sleaze who hits on Griffith as they do business in the back of a car. There's Olympia Dukakis; Oliver Platt. Even Rikki Lake who I didn't realise I'd seen until her name appeared in the end credits. Joan Cusack is one of the best things in this film as Griffith's supportive and forthright colleague and friend and deserved her nominations. Sigourney herself has a smaller role than I'd realised, spending most of the middle act off-screen, but she's still magnetic and fun.

Then there's Melanie Griffith who is in every scene. As I watched, I found myself thinking it very surprising she would have been nominated for best actress and thought I must have misremembered that. But no, I checked afterwards and she was indeed nominated for an Academy Award, a BAFTA and a Golden Globe, inexplicably winning the latter (beating Jamie Lee Curtis, Michelle Pfeiffer, Susan Sarandon and Amy Irving). Now I find myself wondering what on earth I'm missing. What are others seeingthat I'm not?

When I watched the previous year's Something Wild a while back I commented on Griffith's performance:

During this film I found it really difficult to work out her performance. There were times when I couldn't quite decide whether she was a terrible actress or she was being deliberately wooden as part of her screen persona to hide how canny and intelligent she actually was (à la Marilyn Monroe). I'm still none the wiser, but overall I'm leaning towards the former.

At this point I feel I've given her a fair chance: my conclusion is that she is not a great actress, and not even really a good one. Once again, she speaks all her lines too quickly, all in the same monotone in that ickle girl half whisper (which must be murder on the larynx because she spent a great deal of time clearing her throat. Unless that was a concession towards "real" acting). I'm still convinced that she doesn't even know what most of her lines mean. They're just words on a page being spoken out loud without any kind of feeling or interest. The only positives I can say are that she has expressive eyes, and there are also moments where flashes of resemblance of her mother Tippi Hedren generate a nostalgic sense of goodwill. These things aside, it just makes me a little sad that I live in a world where Melanie Griffith is (or was) taken seriously as an actress.

All in all, a very decent film that with a different leading lady would have been a terrific one.

 

[James from London]

Working Girl (1988)

I don't think I've seen the film since it came out so can't remember too much about it, but I think I enjoyed it. But what a feem toon:

Also, I developed this Working Girl-related theory the last time I watched the Murakame story on Knots:

The shift that occurs in Paige’s character at this point is fascinating. Somewhere during this storyline and without the viewer even noticing, she has been transformed from snooty heiress to plucky underdog. Here, she is essentially channelling Melanie Griffiths’ titular character in Working Girl while Abby mirrors Griffiths’ nemesis boss played by Sigourney Weaver. Who knows if this was mere coincidence, but the movie had been nominated for five Oscars just six weeks before this episode aired so it was certainly in the zeitgeist. Also, the characters’ wardrobe choices for this sequence — Paige circumspect in black, Abby bold in red — match Griffiths’ and Weaver’s in the film’s promotional poster.

 

[Crimson]

Melanie Griffith who is in every scene. As I watched, I found myself thinking it very surprising she would have been nominated for best actress and thought I must have misremembered that. But no, I checked afterwards and she was indeed nominated for an Academy Award, a BAFTA and a Golden Globe

If it's any consolation, I'm pretty sure she has more Golden Raspberries than prestigious awards.

I haven't seen WORKING GIRL in ages, but that might have been the only film where her schtick didn't bother me too much. Overall, I think your assessment is correct; Griffith was more of a personality than an actress, and not an especially great personality at that. She seemed to be trying to channel Marilyn Monroe and Judy Holiday and, without a trace of subtlety, even remade Holiday's triumph. That kind of breathless, baby voiced sexpot persona was awfully dated by the 90s. Jennifer Tilly, at least, did a better variation of it, especially since she tossed some Shelly Winters into the mix.

 

[Mel O'Drama]

But what a feem toon

Oh yes. I forgot to mention this, but it's great. It felt like an additional character who would reappear every once in a while to add a bit of inspiration.

I also enjoyed the role New York City played. It felt very tangible here and slightly removed from the cinematic New York one sees in every third film. The opening titles (a helicopter shot around The Statue Of Liberty then a panorama of the skyline as we sweep over to follow the Staten Island Ferry before going inside) are a work of art.

I developed this Working Girl-related theory the last time I watched the Murakame story on Knots:

That's cool. It's fun to see the (possible) influence taking effect that quickly, and makes me wonder about other times Knots did this.

If it's any consolation, I'm pretty sure she has more Golden Raspberries than prestigious awards.

That does console me (and I don't mind if that makes me a teeny bit petty).

I haven't seen WORKING GIRL in ages, but that might have been the only film where her schtick didn't bother me too much.

My only other cinematic frame of reference for Griffith is Something Wild, and Working Girl is far more watchable on the bases of cast, writing and premise. I'd say these carried her through. Even though it was never going to be a fantastic film because of her presence, it manages to be a really good film despite her presence.

That kind of breathless, baby voiced sexpot persona was awfully dated by the 90s. Jennifer Tilly, at least, did a better variation of it, especially since she tossed some Shelly Winters into the mix.

Now this threw me a little because I immediately thought of Meg Tilly whom I only know from Psycho II. And even then I still got what you meant since Meg had a similarly vacant and insipid intonation to Griffith (even if Meg didn't invoke Shelley Winters).

 

[Willie Oleson]

Now this threw me a little because I immediately thought of Meg Tilly whom I only know from Psycho II.

I read Meg Tilly but somehow I thought of Meg Ryan whom I consider to be "the better Melanie Griffith" and also "the lesser-budget Nicole Kidman".

 

[Mel O'Drama]

Meg Ryan whom I consider to be "the better Melanie Griffith"

Yes, I can very much see that.

"the lesser-budget Nicole Kidman".

I like that you were helpfully specific here instead of saying "the cheap Nicole Kidman" (which may have meant something quite different).

 

[Willie Oleson]

What a rabbit hole we've fallen into!

I don't remember if I've seen Melanie Griffith in De Palma's Body Double....it's possible that I've skipped it thinking it was Body Heat

 

[9unfold]

just watched Love Actually (2003)

Excellent movie. The way that the various stories are told is nothing short of excellent.

Should have gained greater recognition.

 

[Willie Oleson]

Live And Let Die (1973)




Purely based on scenery and events this is more entertaining than Diamonds, but the villainous scheme that needs to justify the story feels a bit like an afterthought.
It's already a step-down from "going to steal da moon!" to growing poppies, and it's also a long-term scheme that doesn't feel particularly threatening in the two hours moment of the film.
There's no ominous clock ticking and it's not clear how or if it's going to affect England. This makes it harder for the second Bond recast to become seriously involved hence why the second part of the film focuses on the rescue of Bond girl Solitaire.
Ironically, Solitaire is more interesting in the first half of the film when she's still mysterious and in control. Jane Seymour looks absolutely breathtaking and there's also that slightly unhinged undercurrent that she does so well.

The theme is obviously inspired by the blaxploitation genre of the early seventies (the cheaper but more entertaining Bond knock-off Cleopatra Jones was released that same year) and overall it's become a relatively satisfying mix.
Instead of eliminating James Bond on the spot - always the most effective way - they keep taking him to other places where he's going to be eliminated.
Despite the contrivance and the ineptitude of the various thugs which allows James Bond to escape over and over again I must say that these are the most entertaining scenes.
The crocodile trap looks pretty nerve-racking, and the boat chase scene that goes on forever maintains its action-packed thrill from start to finish.
This part of the story is also massively enhanced by scene-stealer hicksville Sheriff J.W. Pepper in a pre-Dukes Of Hazzard sort of way.
The arranged voodoo-hoodoo execution of Kananga's treacherous Tarort reader is another effective attempt to include as much of "black culture" as possible, but it also made me think that Baron Samedi might have been a more memorable Main Antagonist in Live And Let Die.

The traditional crooner-style theme ballad has been replaced with a contemporary rock/pop song and I'm sure it would rank very high in a potential Ranking The Bond Themes thread. (hmm, haven't I already done that?).
Ranked as a Bond film I'll put it in the same mid-tier category as Diamonds Are Forever.
Incidentally, I think it's a shame that the fabulous movie poster artwork was used for the VHS packaging but not for the DVD and Blurays.

 

[Mel O'Drama]

massively enhanced by scene-stealer hicksville Sheriff J.W. Pepper in a pre-Dukes Of Hazzard sort of way.

Who is uncannily similar to the hicksville sheriff from Superman II (played by the same actor). I like to think it's the same character (even though it's apparently not).

The traditional crooner-style theme ballad has been replaced with a contemporary rock/pop song

I love B.J. Arnau's full-throttle version in that scene in the Fillet Of Soul scene... a taste of what we were originally supposed to get from Thelma Houston or Shirley Bassey before McCartney's condition that he and his wife would only write the song if they could sing it.

a potential Ranking The Bond Themes thread. (hmm, haven't I already done that?)

I wouldn't mind seeing that again.

(My favourite Bond theme is quite possibly one recorded for the opening titles which ended up relegated to playing over the end credits. But you're still some ten films and over a quarter of a century away from that).

 

[bmasters9]

Broadcast News, 1987, 20th Century Fox, w/Holly Hunter, William Hurt, Albert Brooks et al.

 

[ClassyCo]

I decided to watch PRISCILLA (2023) today on Netflix. I don't remember this movie receiving quite as much press as the ELVIS (2022) biopic, but I was certainly aware that it was coming out, perhaps through information I gathered here on the forums.

Anyway, PRISCILLA is basically what you'd expect it to be -- glossy, superficial, and turning a glamorized version of young Priscilla Beaulieu's life with Elvis Presley. There isn't very much in the movie about Priscilla's life outside of Elvis, but I honestly wasn't expecting anything different. The real-life Priscilla's claim-to-fame was her relationship with Elvis, so it's only natural that her autobiography and own biopic would focus primarily on her relationship with one of the most famous people to have ever lived. Evidently, the real-life Priscilla served as an executive producer on the film, but I suppose she had no say in infusing any depth into the story, the portrayal of her or Elvis as actual characters, or perhaps she didn't really care. It's hard to tell.

Aside from that, the movie was... just okay. Cailee Spaeny is Priscilla and Jacob Elordi is Elvis, and they're the two everything naturally spins around. Their separate performances are decent, but I wouldn't say either of them are particularly outstanding. For my tastes, I'd say Austin Butler was a better Elvis than Elordi, but to each their own. You're not going to learn anything new about Priscilla or Elvis here.

 

[Crimson]

A Fish Called Wanda (1988)

A delayed response, not having seen this a month ago. This is a very strong contender for my favorite film comedy, one I have watched innumerable times and which still makes me laugh heartily. I mentally -- and sometimes literally -- pair this with DIRTY ROTTEN SCOUNDRELS and RUTHLESS PEOPLE as a triple feature of terrible people behaving terribly.

The cast reunited for a spiritual successor in 1997, FIERCE CREATURES. I know I saw this once and I don't recall a single thing about it.

Kevin Kline is enjoyably deranged, and I kept seeing Robin Williams. This film is my main association with his name, so I've not seen much of him.

Hollywood seemed to try to turn Kline into a "big thing" in the early 90s but he didn't seem to click. He's equally great in the Sally Field comedy SOAPDISH and I recall DAVE being an agreeable comedy. Beyond those, I don't recall seeing him in much.

The hardest I laughed in the film was at Maria's impeccable delivery

For me, the peak of the film is Maria's "Mr. Manfredjinsinjin" scene with Kline. Aitken has a seemingly thankless role in the film but steals every scene she's in.

I stumbled upon this fan casting poster of Fish in the style of an Ealing comedy

A FISH CALLED WANDA is a movie I have often done an Ealing era appropriate fan casting. Sellers replacing Palin is obvious. Grant was too debonair for Archie. Guiness is an obvious choice due to his association with Ealing, but I think I like the stuffiness of Gielgud in the role. Janet Leigh is a solid choice, but my own casting is Marilyn Monroe. I never replace Kline with any satisfaction, but usually bounce between Brando or Sinatra.

 

[Mel O'Drama]

This is a very strong contender for my favorite film comedy, one I have watched innumerable times and which still makes me laugh heartily.

Now I've finally watched it, I can see why.

The cast reunited for a spiritual successor in 1997, FIERCE CREATURES. I know I saw this once and I don't recall a single thing about it.

I was aware of this, and looked into watching it after viewing Wanda. I gave up when it wasn't free to stream for me (I don't subscribe to any service beyond Prime) and based on your comments perhaps I'm not missing all that much.

He's equally great in the Sally Field comedy SOAPDISH and I recall DAVE being an agreeable comedy. Beyond those, I don't recall seeing him in much.

Ah yes. I have watched Soapdish, but that was probably 20+ years ago. Perhaps I'll be due a revisit soon.

Dave is another that I know about but have yet to watch. It has a pretty good cast.

For me, the peak of the film is Maria's "Mr. Manfredjinsinjin" scene with Kline. Aitken has a seemingly thankless role in the film but steals every scene she's in.

A month on from watching and, yes, this is the scene of the film for me and Maria Aitken makes it.

Grant was too debonair for Archie. Guiness is an obvious choice due to his association with Ealing, but I think I like the stuffiness of Gielgud in the role.

Oh yes. That's a good fit.

Janet Leigh is a solid choice, but my own casting is Marilyn Monroe.

Ooh, interesting. I don't think I would have considered her on the grounds of her being unobtainable. I could envisage her as Wanda but somehow - even in fan casting - I couldn't imagine her doing a non-American film. Then I realised I'd forgotten about The Prince And The Showgirl.

Now I think about it, the business with Wanda pretending to be extremely short-sighted without her glasses does seem to channel Pola Debevoise.

 

[Crimson]

A month on from watching and, yes, this is the scene of the film for me and Maria Aitken makes it.

With no exaggeration, I think it's one of the funniest scenes in cinema. I frequently pull it up on Youtube when I need a solid chuckle. Between Kline's aggrieved lunacy and Aitken's snotty nonchalance, it's a gem of a scene. Aitken's unperturbed delivery of that nonsensical name is peak droll comedy.

Now I think about it, the business with Wanda pretending to be extremely short-sighted without her glasses does seem to channel Pola Debevoise.

Right, Wanda is a perfect mix of Marilyn's 1953 roles -- the scheming feme fatale of NIAGARA and the comedic gold diggers of GENTLEMEN PREFER BLONDES and HOW TO MARRY A MILLIONAIRE. As much as I love the actual film, there is a quite wonderful version circa 1957 floating around in my head. I even have Marilyn film it right after finishing SHOWGIRL, although in real life her experience there with Olivier was awful and she was eager to return home.

 

[Mel O'Drama]

With no exaggeration, I think it's one of the funniest scenes in cinema. I frequently pull it up on Youtube when I need a solid chuckle.

In the short time since I've watched the film, I've probably watched this clip somewhere between eight and twelve times.

Between Kline's aggrieved lunacy and Aitken's snotty nonchalance, it's a gem of a scene.

They bounce off each other wonderfully, and I love that her matter-of-fact dismissal of his oft-repeated line ("Don't call me stupid". "Why on earth not?") is what causes Kline's character to lose it.

The fact that it comes at the end of the farcical sequence with characters hiding behind doors and sofas makes it so much richer.

Aitken's unperturbed delivery of that nonsensical name is peak droll comedy.

Yes. That line never fails to laugh out loud.

Wanda is a perfect mix of Marilyn's 1953 roles -- the scheming feme fatale of NIAGARA and the comedic gold diggers of GENTLEMEN PREFER BLONDES and HOW TO MARRY A MILLIONAIRE.

Of course! Now you've pointed it out, it's screamingly obvious. This would add another layer to a rewatch of the film for me.

As much as I love the actual film, there is a quite wonderful version circa 1957 floating around in my head. I even have Marilyn film it right after finishing SHOWGIRL, although in real life her experience there with Olivier was awful and she was eager to return home.

Perfect. I know Marilyn's life was very tumultuous at the time, so I'm sure it would have taken a great deal of patience from co-stars and director (still George Crichton, presumably), but the end result sounds like magic.

 

[Crimson]

In the short time since I've watched the film, I've probably watched this clip somewhere between eight and twelve times.

Not to beat a dead fish, but AFCW is a rare comedy that gets funnier on repeat. I don't know what your pace is for revisiting films, but I suggest coming back to this in a year or so. I guarantee you'll find it funnier. There are so many small things to catch, such as the way Otto's voice slightly cracks when he realizes his idiotic bluster isn't working against Mrs. Leach.