Film 2008

[Uncle Spielberg]

" Let me tell you something you already know. The world ain't all sunshine and rainbows. It's a very mean and nasty place and I don't care how tough you are it will beat you to your knees and keep you there permanently if you let it. You, me, or nobody is gonna hit as hard as life. But it ain't about how hard ya hit. It's about how hard you can get hit and keep moving forward. How much you can take and keep moving forward. That's how winning is done! Now if you know what you're worth then go out and get what you're worth. But ya gotta be willing to take the hits, and not pointing fingers saying you ain't where you wanna be because of him, or her, or anybody! Cowards do that and that ain't you! You're better than that! "

Watch the film and this marvellous speech.

 

[keaton]

R-Point - J-horror meets Sands of Iwo Jima, not bad
Thank You For Smoking - clever, opriginal and very funny

 

[Easy 10]

Superbad

A coming-of-age gross-out comedy about two teenage boys who are inseperable friends, on a mission to buy booze and get laid at a party. The humour is utterly infantile, practically every sentence uttered has the word "f***" in it, and the views on the girls at their high school border on the mysoginistic. If you think one of the boys getting a period blood stain on his trouserleg after some close-up dancing with a girl is actually funny, or find numerous drawings of gigantic penises even vaguely amusing, then this is the film for you.

I f***ing loved it. Its hilarious. 8.1.

 

[Nibble]

" Let me tell you something you already know. The world ain't all sunshine and rainbows. It's a very mean and nasty place and I don't care how tough you are it will beat you to your knees and keep you there permanently if you let it. You, me, or nobody is gonna hit as hard as life. But it ain't about how hard ya hit. It's about how hard you can get hit and keep moving forward. How much you can take and keep moving forward. That's how winning is done! Now if you know what you're worth then go out and get what you're worth. But ya gotta be willing to take the hits, and not pointing fingers saying you ain't where you wanna be because of him, or her, or anybody! Cowards do that and that ain't you! You're better than that! "

Watch the film and this marvellous speech.

I am about to deride Rocky Balboa but please don't take it personally! I did see the film and frankly I just can't se how anyone could find the circumstance of the fight in any way,even slightly realistic. I know you have to suspend disbelief on this sort of film but it was all just a bit too ridiculous for me to get into.

The speeches he made sound as if they have been written by an advisor to Reagan and just smack of lame emotional manipulation. It is trying to be On the Waterfront but end up being another half baked Stallone monologue, akin to the awful speech at the conclusion to Rambo: First Blood prt 2.

The only element to the film I found realistic and watchable was the fact that he now runs a restaurant and spends his evenings recounting former glories before hitting low rent bars to drink beer.

Sorry US but this film rates a paltry 1.5 on the Nibble scale of movies.

However, this has no rewflection on you and i still enjoy reading your movie opinions and enjoy your enthusiasm for film.

 

[Les Biehn]

However, this has no rewflection on you and i still enjoy reading your movie opinions and enjoy your enthusiasm for film.

That however does not reflect well on you.

 

[Mendoza]

Family Guy: The Blue Harvest

 

[Easy 10]

Stallones (Rockys) speeches come from the heart though. He's not the most articulate of guys, but thats not what he's about. Its a film about HEART. And a damn good one in my opinion.

I was mightily impressed with Stallones performance, it was by far his best in years - Rocky is easily the character he plays best. In this final episode he just taps into it and makes it believable.

 

[Nibble]

That however does not reflect well on you.

Sorry Les, what I meant to say was that the diverse analysis of narrative themes relating to father/son relationships that US explores, especially when detailing the symbiotic nature of the Id as opposed to the male Superego is a direct reflection of earlier projected protagonistic themes in relation to the narrative construct that not only oppses itself but engages in conflict with the protagonists view of his own relationship with himself, is very much the same way I view films.

I'll have one of thse MA things now please.

 

[Les Biehn]

I suppose in a sense the Id is symbiotic as it's basis stems from the repression of desire for the mother so continues to desire unity with her and is regulated so as the desires can be sublimated into a socially acceptable form. However the Superego works as a higher regulatory form, representative of the patriarchal order, regulating not only the Id but the Ego which is split between regulating the Id and it's own desires. So as you see the Id and the Superego are opposed, one desiring of the Mother, the other representing the Father and his symbolic order prohibiting access to the Mother.

So what we have is a character in a sense trying to locate himself, trying to regress to an imaginary state. However the narrative opposes this as it uses a symbolically representative form with the narrative moving forward through time. Therefore essentially you are right Nibble, the protagonist is fighting the patriarchal order, his own father and the rules they have set out for the forward momentum of the narrative. However his desire to be accepted and yet to regress shows a conflict within him, a split, running parallel to the narrative split you so keenly pointed out.

As a viewer you are split by the absence and presence of the image, you are a split subject, unified with the image as you assign meaning to it but split as it is not real. In other words you are correct again that your viewing experience is akin to that of the protagonist.

 

[Nibble]

You can make any old nonsense seem plausable. Your training is over. You are a film maker.

 

[Trufflehound]

I suppose in a sense the Id is symbiotic as it's basis stems from the repression of desire for the mother so continues to desire unity with her and is regulated so as the desires can be sublimated into a socially acceptable form. However the Superego works as a higher regulatory form, representative of the patriarchal order, regulating not only the Id but the Ego which is split between regulating the Id and it's own desires. So as you see the Id and the Superego are opposed, one desiring of the Mother, the other representing the Father and his symbolic order prohibiting access to the Mother.

So what we have is a character in a sense trying to locate himself, trying to regress to an imaginary state. However the narrative opposes this as it uses a symbolically representative form with the narrative moving forward through time. Therefore essentially you are right Nibble, the protagonist is fighting the patriarchal order, his own father and the rules they have set out for the forward momentum of the narrative. However his desire to be accepted and yet to regress shows a conflict within him, a split, running parallel to the narrative split you so keenly pointed out.

As a viewer you are split by the absence and presence of the image, you are a split subject, unified with the image as you assign meaning to it but split as it is not real. In other words you are correct again that your viewing experience is akin to that of the protagonist.

A quick: "I thought the film was utter BOLLOCKS" would have done the job equally well however.

 

[El Presidente]

Cloverfield. Like a big screen version of Doctor Who, but without a happy ending or seeing the monster in detail.

 

[Uncle Spielberg]

Atonement

I thought I would get a romantic film for the other half and with 14 Bafta and 7 Oscat nominations thought I was ssured of a quality slice of film making. Well yes and no. It was VERY slow so much so infact that after an hour the other half was fast asleep. She does like easy going films so this one was not for her.

I persevered and yes it was well acted and directed and the story was midly interesting but I have seen lots of better films in the last year imo, Enchanted was far better, Rocky Balboa was a better film , Transformers was a better film.

The only time I thought this is a worthy and deserving film was the highly impressive Majestic and Cinematically superb chaos on the Normandy beaches , this was excellent.

The ending was not the " weepy " I had heard about just a convenient tail end to a moderately interesting premise.

Don't get me wrong it was a good film but I expecetd a lot more.

6.7

 

[Uncle Spielberg]

The Heartbreak Kid

New dvd , thought I would go for a light hearted one last night after the ernest Atonement. I like Ben Stiller, a good comedic actor, not fit to clean the shoes of the Daddy, John Candy but a lot better than many others. His name on the sleeve made me hire this.

It had some amusing moments about a bachelor marrying a gorgeous Blonde and regretting it , meeting someone else and falling out with wife and new girl and getting together with new girl etc etc. Its a harmless bit of fluff with several funny scenes. Not a classic but I've seen worse.

6.1

 

[Les Biehn]

The Savages

Very good. Great performances from Phillip Seymour Hoffman, Laura Liney and Philip Bosco. I unsentimental look at what happens when a parent gets dementia. Some darkly funny moments, well rounded characters and some slightly askew moments that never come across as contrived.

8.4

 

[Uncle Spielberg]

Oy where are your reviews you miserable lot

 

[Easy 10]

They're all on the Sweeny Todd thread I think.

 

[Uncle Spielberg]

Bastards !.

 

[Uncle Spielberg]

Rambo is getting a decent 8.1 on imdb and the film is meant to the daddy of all action/war films, 2nd best in series it appears

 

[CHAPPERS]

I watched Munich on Friday. It was okay, I enjoyed the pace of the film.

I give it 3*.