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Old 30-10-2007, 10:58 AM   #81
chumloofah
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Batman: The Movie and Day of the Dead the best in their respective series!?
*pulls out the lobotomy spoon*
Adam West plays it pretty hilariously, but... that can't be right, my little droogies.
Day of the Dead just doesn't have the old desperate to survive vibe of the first two.
Oh, and michael keaton isn't a good batman (get a grip!).
He's short, he's slight and he just doesn't have what christian bale has.
Height and a batman physique!
And the only bats since the West Man to be able to move his neck.

Come on, people!
Keaton was at least 50% rubber suit!
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Old 04-11-2007, 03:07 PM   #82
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<div class='quotetop'>QUOTE(chumloofah @ Oct 30 2007, 02:58 AM) [snapback]317749[/snapback]</div>
Quote:
Batman: The Movie and Day of the Dead the best in their respective series!?
*pulls out the lobotomy spoon*
Adam West plays it pretty hilariously, but... that can't be right, my little droogies.
Day of the Dead just doesn't have the old desperate to survive vibe of the first two.
Oh, and michael keaton isn't a good batman (get a grip!).
He's short, he's slight and he just doesn't have what christian bale has.
Height and a batman physique!
And the only bats since the West Man to be able to move his neck.

Come on, people!
Keaton was at least 50% rubber suit!
[/b]
The reason I put Day of the Dead above the others is because I thought it took the zombie genre somewhere besides a group of survivors surviving. That's what every other zombie movie in the world does and they usually stop there. As for Batman.. I really can't take a real life guy in pointy ears seriously, so unless it's a comedy, most live action superhero movies come off as just too silly.

@Mighty: I'm totally with you on that review! I love Cronenberg movies, but I always feel confused and dirty after watching them!
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Old 05-11-2007, 10:19 AM   #83
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Dunno, fella.
I've never seen a delivery quite like dawn of the dead (including the terrible remake movie, dawn of the dead), and it might be relevant that night of the living dead set the trend.
And I suppose if you don't dig batman you can just wait for the chief o'hara to rescue you when threatened by suffocation in vats of custard and whatnot
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Old 05-11-2007, 08:22 PM   #84
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Dawn of Teh Cawk, leel.
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Old 06-11-2007, 06:03 PM   #85
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<div class='quotetop'>QUOTE(chumloofah @ Nov 5 2007, 02:19 AM) [snapback]318288[/snapback]</div>
Quote:
Dunno, fella.
I've never seen a delivery quite like dawn of the dead (including the terrible remake movie, dawn of the dead), and it might be relevant that night of the living dead set the trend.
And I suppose if you don't dig batman you can just wait for the chief o'hara to rescue you when threatened by suffocation in vats of custard and whatnot
[/b]
I think Batman's alright. My favorite comic book of all time is Dark Knight Returns. Despite the utter lack of custard and George Clooney or whatever. k:
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Old 11-11-2007, 11:07 AM   #86
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George Clooney... :wallbash:
You know, he actually based his performance on the idea that Batman really shouldn't be so tortured.
Him being a millionaire, he should be more upbeat.
What a chump!
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Old 17-01-2008, 07:50 PM   #87
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Atom Age Vampire
(Seddok, l'erede di Satana)




(Horror, Anton Giulio Majano, It (USA dubbed version), 1960, b/w)

A strip dancer gets horribly disfigured in a car accident and wants to end it all. A scientist loner wants her as a test subject in a research project where dead tissue comes to life again, but with a hefty price attached. See, the serum he is using was derived from an earlier version of this serum, and this beta version turned the patient into a ferocious beast. Ok, we get it... But there's more: He falls in love with this woman and turns himself into a beast so that he can kill other women as a step in the treatment. Did this make any sense? Not the slightest and still, there you have it.
If you want a vampire that scares the living daylight out of you, look elsewhere. If you want a vampire at all, look elsewhere. There are no vampires in this movie. There is this Dr. Jekyl & Mr. Hyde theme, the Werewolf theme, the mad scientist theme, but no vampires.
The filming is, I don't know, I'm sort of lost for words, abysmal at best, the editing will confuse you to the point where it becomes either a headache or a bizarre joke. Scenes are interrupted by completly unrelated scenes, the car you see on the screen is not the car you think it is and soon drives off out of the picture where it belongs, the scenes are cut short here and there making you wonder if you passed out for a few seconds, and don't get me started on the acting, or the dubbing. Please, I just want to forget I saw and heard this. Seriously. At least, until the next time I watch this.

Personal opinion: This movie is about insanity and madness: The scientist is barking mad, the assistants are all barking mad, the script writer was barking mad, the editor was barking mad, the director was barking mad and the one responsible for hireing the actors was probably locked up for good at the funny farm after this movie. I tell you, there is nothing in this movie that can save it from relentless scorn and humiliation. Unless you can enjoy utter crap (and I did laugh out loud like a madman coz of the acting and the absolutely most horrendous dubbing I have ever heard), this is definitely not the movie for you.
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Old 27-01-2008, 08:08 PM   #88
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Train To Hell
(Night Train To Venice)



(Genre? I haven't got a clue. Carlo U. Quinterio, GER, 1993, colour)

Why a picture of Venice? Why not. I tried to find a frame that would in some way sum up this flick, but there weren't any. I'll try to explain. Hugh Grant is a reporter who has written a book on neo-nazism, and is called to Venice to meet with a publishing house. He gets on the train and off he goes. Well, it could be that simple but: Onboard is also a mysterious stranger who frankly doesn't do much other that go around with his mystical sneering grin, looking as scary as he can... oh, and he happens to have some sort of magical abilities... and a cane... with a silver demon's head on top. Did I mention he stares a lot? Ok, onboard is also a pack of neo-nazis, an actress and her little daughter. There are all these other characters there, but what purpose they serve here is beyond me. We get introduced to characters who could have been interesting if they didn't just disappear from the script and the film. Anyhow...
Grant and Mother falls in love, gets to Venice where Grant is chased by the same neo-nazis, all while the stranger sneaks around looking mysterious... while staring... and smirking. The chase doesn't last long though and suddenly the daughter takes a dive from the balcony high above, gets rescued by Grant and everyone is happy. The End. I'm serious. There is absolutely no plot here. None and nada. All we have are frames of extremly varied quality, from the grainy-you-can-barely-make-out-what-you're-looking-at, to semi decent frames.
More tech talk. Holy cow! Scenes are constantly interrupted by other scenes of no relevancy, dialogues have rarely anything to do with anything interesting, and the lack of plot, rhyme or reason is just incredible.
This film is, come to think of it, more than just slightly annoying. The characters who vanish without a trace out of the (assuming there actually is one) story. Where did they go? What happened to them? No explaination given as to why they were introduced in the first place or why the sudden lack of screen-time. The Starer? Who is he? What is he after? Why can't he stop staring? No answers. What's with the book? Absolutely no clues given. I ended up asking the fundamental question, what does this movie want? No answers whatsoever. I came up with the only possible answer, although it's still guesswork from me. I choose to believe this flick has one purpose: To show Hugh and Tahnee Welsh (who the heck is Tahnee Welsh anyway) hit the sack together, over and over again... and to show how much a starer Malcolm McDowell is.

I am looking for more things to say, but there really isn't all that much that can be said, considering the movie is as empty and directionless as a null vector.

Personal opinion: I honestly can't tell if this is art on a level far beyond my meager comprehension or if it is just a failure so huge I still can't comprehend. Truth, the first 20 minutes were excruciatingly dull and confusing, but after I chose to just don't give a damn, it turned into a nightmare-ish sort of thing. If they had remembered to include Hugh waking up, bathing in sweat, screaming, then it would have made some sense.
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Old 28-01-2008, 10:32 PM   #89
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Bride Of Frankenstein



(Horror, James Whale, USA, 1935, b/w)

Frankenstein and his Monster. Who haven't heard of that dynamic duo? Only this time with a twist. See, as the movie starts, Mary Shelley is enjoying the company of two gentlemen. One of these gentlemen, a certain Lord Byron, is overly, nay, theatrically enthustiastic over Shelley's book, Frankenstein. She then lets out the big secret: But it didn't end there.....

Frankenstein is approaced by a raving loony doctor Pretorius who, beside from experimenting himself with the secret of life, also has a love for even more outrageously exaggerated postures and gestures than Lord Byron. He has not created one monster, in fact he hasn't created any monster at all. What he has created, made me laugh and giggle for 10 minutes. Seriously, you folks need to see his Creatures and their behaviour to believe this. Not only is doctor Pretentious raving mad, but he is also looking for ways to make an extremly hesitant, and only slightly less exaggerating actor/Frankie, talk. In short, Pretentious wants Frankie's secrets and partnership. Meanwhile, the Monster, which isn't even half-dead, only ex-dead, is running his own little riot around the countryside and is continuously chased by the pitchforkwielding villagers, but is soon turned into a staggering alcoholic by Pretentious and used against Frankie. Pretentious' goal? To create, with the aid of Frankie, a female monster, a bride for The Monster.
Ok, enough of ruining the film for you guys. Let's move on with the other stuff. Once again Boris Karloff is The Monster and he is the Monster in my book and he always will be. Trouble is, in this flick, which at points leans slightly towards pure comedy and farce, he is (like every other character) so extremly dramatic it becomes rather amusingly silly. Another problem is that the makers of this film obviously wanted the poor Monster to become even more heartbreaking than in the first Frankenstein movie. He even learns a few phrases for pete's sake, grunted/roared out in a childish-cute way so we can not help feeling his clumsy, throatseeking hands are instead reaching for and melting our hearts, Truth is, sometimes it did work pretty well, but too many times did his cute factor turn the movie towards kitch comedy. Look out for the scene with the sheppardess and her lamb and if you're not guffawing over this incredible and bold change of mood, then you must surely be made of reanimated flesh and rotten brains.
Another thing that cannot be avoided mentioned, is the many similarities to the comedy "Young Frankenstein" by Mel Brooks, which isn't strange at all concidering Brooks made a comedy based on both Frankenstein and this movie. You'll find the blind hermit is here and even a Frau Blücher is somewhat here, even the Lady With The Hairdo is here. Mind you, BoF is not a comedy, but with Brooks' faithful and accurate remakes of scene after scene in mind, I couldn't help giggle uncontrollably over and over again.
One thing that struck me pretty soon was how good (really, I mean it, some of them are really good) the special effects are. The Creatures and how they interacted with Pretorius actually made me quite impressed. On the other hand, the superimposed images of people on the tower near the end were so bad I had to stop the movie and rewind to make sure they really were that bad. And they were. It is also obvious they never set foot outside the studio when filming this. No matter how many trees, or waterfalls, or rock-ish formations, they could just as well have showed us the exit sign on the wall behind the scenery. Is this a bad thing? Not at all, and I'm not being sarcastic or ironic. It does work pretty damn well, as long as you remember you're dealing with a movie from 1935.

Personal opinion: Ok, all fun and comparisons to Young Frankenstein aside. This is a pretty damn good movie. One thing is Karloff, I don't care if The Monster wears a face cream mask and ballet shoes, if it's Karloff, then it's the Monster. Period.
Another thing is the twist. If the movie was made today, I would have cut it to shreds and burnt the director, but I will accept the twist because they made it before the clichès became the standard and because they never make a looong and unpleasantly unsurprising point out of this being the bride of the Monster (yes, the title is slightly misleading here, something Mrs Frankenstein surely would be the first to appreciate). Actually, the Bride and the Monster meeting took the movie around a new, unexpected corner. I can only say I liked the ending of this one. I won't tell you any more of what happens, just watch it. Recommended!
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Old 08-02-2008, 12:30 AM   #90
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They Live, anyone?
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