r/iwatchedanoldmovie

I watched Das Boot last night and i can see why it’s considered one of the greatest war films ever made, its a german speaking movie and honestly its one of the best i have ever seen!

What surprised me most is that this isn’t really a war movie about heroism or glorious victories. It’s about a group of men trapped inside a metal tube in the middle of the ocean, slowly losing their minds as they wait for something to go wrong.

And that’s what makes it so effective.
The atmosphere is incredible, When the depth charges start dropping, the tension becomes almost unbearable. You know these men can’t simply run away or find somewhere to hide, All they can do is sit there and hope the submarine holds together.

I also love how the film portrays the crew as ordinary human beings rather than glorified soldiers, They’re completely fed up with their situation, They’re not presented as superheroes, They’re just men trying to survive.

Without spoiling anything, I’ll just say that the film’s final moments left a stronger impression on me than most big, dramatic war movie endings. It feels cruel, almost absurd, and painfully appropriate for a story about war.

If I had one criticism, it’s that the film’s length and deliberate pacing might put some people off. It’s not trying to entertain you with constant action, It wants you to sit with the crew, experience their exhaustion, and feel the psychological weight of their situation. But for me, that’s also one of its biggest strengths.

What makes Das Boot so powerful is that it doesn’t need to constantly show death and destruction to make war feel horrifying. Sometimes, all it needs is a group of terrified men sitting in the dark, listening to the ocean above them.

An incredibly tense, atmospheric, and human film that makes submarine warfare feel less like an adventure and more like a slow descent into hell.

Has any one else seen this movie?

One for Halloween that I’m surprised I’ve never got round to watching. The film has quite a cult following despite bombing at the box office, but then isn’t that always the way. Director Peter Jackson is no stranger, pre-Lord of the Rings, to cult fare; see Braindead and Bad Taste. But a film from 1996 with Michael J Fox? One can only presume it’s because the film skirts the line between dark comedy and outright horror. Occasionally one or the other, or both at the same time.

It’s an anarchic film, with a Beetlejuice vibe throughout. Danny Elfman providing the score helps. The after life is a kooky but also gross affair with the majority of the film’s humour derived from the dead and their interactions with the living. As is the horror.

This is a CG heavy film and it has the sheen to the effects that 90s films have, shiny and plastic looking. Carpets attacking people, or walls are suitably ridiculous looking and may have been better served with practical effects. But this was the early days of Weta and everyone’s gotta start somewhere. Ghosts are amusingly transparent and gross looking as though they all have head colds as ectoplasm runs from every orifice. But Rick Bakers work on John Astin’s The Judge looks great. His barely hanging on jaw highlights a better use of the practical element.

Michael J Fox as Frank suitably looks shabby with his battered Volvo, holy water shooting handgun, and overall conman self. Like a beleaguered McFly he takes the ghosts as matter of fact using them to his own ends. He’s portrayed as someone whose barely hanging on, until, suitably aided by Trini Alvarado’s widow Lucy, he’s given a chance at vengeance and closure. I did find though that whilst everyone else seemed to be in on the joke, Fox preferred to play it dead straight so come the ending, which felt tacked on, his supposed happiness felt rushed and at odds with everything else.

Elsewhere, Jake Busey dials it up to eleven, (should that be twelve?), as killer Johnny Bartlett and most memorably Jeffrey Combs essays another perfect creep as FBI agent Milton Dammers with his Hitler-esque haircut and fear of violations of his territorial bubble. Yet, were he not in the picture you wouldn’t notice as he seems rather pointless plot wise but is an enjoyably insane presence in a sea of insanity. Oh, and it was great to see R. Lee Emery seemingly bringing back his Full Metal Jacket Drill Sergeant for an amusing graveyard confrontation.

Along with the slapstick such as pans to heads and ghosts squished by tires, that dark humour is used to great effect, even in the background. For example, reading some of an article in a newspaper about killer Bartlett being excluded from school for “Masturbating into the English teacher’s lunchbox.” was a surprise.

The humour can be messy, at times childish and/ or gleefully violent, and the film can be overly chaotic, refusing to sit still, but it’s never boring and never not entertaining.

It's not a fever dream... It's a fever nightmare!

The whole thing feels like many disconnected scenes stitched together by a beautiful and foreboding photography. Seriously, what Phatasm misses on plot elements, it makes up in scenarios and soundtrack. Many beautiful night shots and atmospheric scenes.

From what I read, the film was supposed to have some sort of dream-like quality to it and was based on a nightmare the director had as a teen. It sure gives that feeling, despite a basically non-existent plot and questionable acting.

Go in for the vibes and watch it at night and you won't get disappointed!

I watched Forrest Gump for the first time recently, and I honestly didn't expect Jenny's story to affect me as much as it did. I went into it knowing the famous quotes and the whole running scene, but I wasn't prepared for how sad some parts would be. Forrest just keeps going through life, losing people, falling in love, and dealing with things the only way he knows how. There's something about the way he never stops caring about Jenny that really got to me, even when it was clear they wanted different things from life. It also made me think about how much can happen over the years without us realizing how quickly time is passing. By the end, I was just sitting there thinking about the people who come into our lives and how some of them stay with us even when things don't work out the way we hoped.

Man, I can't remember the countless times I've seen this on my old CRT tv with my old VHS copy of this movie. I can still name each characters from Jen and Kira the two remaining Geflings together with their pet Fizzgig, my favorite character Aughra, to the evil ruling of the Skesis and their minions of Garthim creatures. And so much more! I'm so glad I got the Blu-ray / 4k version of it and it was beautiful.

While watching this, I can't think enough of the masterful and talented people who is behind it all. Jim Henson (may he RIP) and Frank Oz. Both are master innovator, visionary artist, and creative genius who completely revolutionized puppetry. We grew up watching Sesame Streets and this one just hits the spot.

The setting is beautiful, from exterior and landscape scenes shot on location across the set. And from what I've heard they shot the location in UK. My favorite part is where Jen found Kira at the primarily points to the lush, bizarre, and dangerous forested ecosystems of the planet Thra. Everything is authentic made by a visual artists Brian Froud. Any species are made by hand with animatronics movements and puppetry.

Yeah some modern audiences may not like it. Some say it looks "goofy" since we're living in the age of modern CGI and using green screens to fake environment. But to me and to all the kids back then, this was revolutionary. Everything were real! Simple fantasy story (well there are some dark parts to it) with groundbreaking animatronics, puppetry, and practical special effects.

The eyes, chico… they never lie.

Cinephile that I am, can’t believe it took me this long to watch it. Did not disappoint.

I mostly watched it so I could feel like I was finally “in” on all the references I’d hear. Two TV shows I’ve seen in the last week have referenced it. So I decided it was time.

I will say, it was an investment. But a good one. Constant tension. Knowing that Tony was digging himself into a deeper and deeper hole >!leading to his eventual demise!< with every decision he made.

I like characters like that. Self-destructive, causing chaos for himself and everyone around him, but just making it worse and worse as he tries to fight it.

It definitely felt like an 80’s film.

I’ll say the only thing is that it felt a little dragged. Don’t think it had to be three hours.

But great film. 8/10 for me.

I've been watching a ton of musicals lately, and I decided that it was about time that I watch The Rocky Horror Picture Show. It's such a fun film and half of it felt like a hallucinatory dream to me. I got such a thrill seeing Tim Curry step out of the elevator in the vampire cape thing. Barry Bostwick in the movie also could've made a good Clark Kent!

My first time seeing this film. I don't know why I had put it off so long. Peck, Olivier, and Mason are masters at the top of their game. The pacing was perfect. And the suspense about the experiment laid over the whole movie like a gloom

What an amazing movie. Highly recommend.

Every day for 30 days I'm watching a different scary movie, this year all about urban legends.

Whatever form media takes, someone conceives of a story where that media turns out to be evil, haunted, possessed, or in some other way ooky-spooky.

In 1991, horror writer Koji Suzuki gave us “Ring,” a story about a cursed VHS tape (not to be confused with Brad Miska, who gave us the cursed “VHS” franchise), which has spawned multiple film adaptations, including this American version in 2002.

Keeping with our urban legends theme, the story starts with a rumor: “Have you heard about this videotape that kills you when you watch it?”

These days, digital video means that the only reason a recording remains obscure is because the potential audience is too busy watching pregnant Elsa videos, or, if that reference is now dated, deep dive retrospectives about pregnant Elsa videos. None of those kill you, but they did make me wish they had.

The tape in this movie really does kill the viewer though, and because it’s physical media it must pass on from victim to victim the old-fashioned way, uphill through the snow both ways. So reporter Naomi Watts sets out to find the tape, uncover its history, and avert the curse…perhaps.

“The Ring” today feels very much of its time, being deeply invested in its plot and with less attention spent on character pathos and meaty opportunities for the cast to show off their acting chops, as a modern haunting film would be.

There definitely IS an emotional core to the movie, with Watts reconnecting with her ex (TV actor Martin Henderson) and connect-connecting with her seemingly comatose son (David Dorfman, who these days is a congressional attorney, a job that’s presumably much scarier than any of the movies he made in his lost youth). But it’s very much not the primary focus of the film.

Speaking of Dorfman…let’s just say law school was a smart call for this kid. He didn’t ruin the movie for me, but that’s mainly because the movie gave us real reason to believe he might die, and I took comfort in that the same way some people turn to prayer or substance abuse during trying times.

Gore Verbinksi has just come off of the picaresque crime rom-com “The Mexican.” With any other director I might question the move from screwball comedy to the incredibly depressive story and look of “The Ring,” but Verbinski is basically Hollywood’s Instacart director, picking up whatever you need.

I don’t say that dismissively: “The Ring” is tight and fun, and while it’s pretty light on scares compared to modern horror films with similar profiles, well, it really only needs that ending to pull its weight…

“The Ring” kicked off a trend in American remakes of East Asian horror movies. And if you’ve read this far, you know exactly where that trend went next. More on that tomorrow.

Original Trailer: https://www.youtube.com/watch?v=yybjV3U68wc

Roller derby had its moment in the spotlight in the '70's, and there were a couple of films about it. Kansas City Bomber was the biggest and most professionally made one, with Raquel Welch and Kevin McCarthy.

Welch plays K.C. Carr, who is traded from the Kansas City Bombers to the Portland Loggers and struggles to fit in there. I was surprised by how gritty they decided to go. Carr is a single mother who leaves her kids with her mom in Fresno while she's trying to earn a living in the Roller Games and really seems to be going nowhere. She's never really shown to be a success and when she's finally on the verge of attaining it… well, I don't want to spoil anything.

Overall, it was a well made film. Welch is gorgeous, but doesn't shy away from looking bad, grungy and sweaty and got injured several times making the movie.

I did enjoy it and so did America. It was a big success for MGM when it was released. But to be honest, I preferred Roger Corman's cash-in Unholy Rollers. It was just more fun.

Speaking of the golden era of cinema from 1940's to the late 60's. One film that stuck on my mind, is this magnificent film called "The Great Escape" from 1963. It's not just one of the best WWII films that has come out, it is one of the best "prison escape" movies of all time. The first time I saw this film was a double feature near in our hometown in some local theater. I remember it was more like a Steve McQueen tribute double feature with Bullitt and this movie. Me and my pops enjoyed the heck of this film and we have a great time. It was a nail biting experience throughout and watching it again still have the same feeling. What a thriller till the end! One of those movies that stand the test of its time and definitely up there to my top 5 favorite movies of all time.

May contains spoiler below.

One thing that stands out to me were the characterization played by some of the most brilliant casts. My favorite duo were Hilts "the cooler" King (Steve McQueen) and Ives (Angus Lennie). Man every time they tried to escape, they always got caught and put them in a prison called "the cooler". It's so funny like some of their escapes were intentional. You got Danny (Charles Bronson) and Willie (John Leyton) some called them the tunnel king as they were the one who mastermind and execute the heavy underground digging for the prison camp breakout. Colin Blythe played by Donald Pleasence together with Bob Hendley played by James Garner. Blythe is a mild-mannered forger who suffers from progressive, severe nearsightedness as Hendley is the one who guides him especially on those scenes in the final act. And my favorite performance by Richard Attenborough as Bartlett, he and the other 49 members in that tragic final act.

Every scenes, every conversation, every comradery, and every association as band of brothers in this film. Has a meaningful and deep impact to me. I remember working somewhere in the middle east were we stayed at the same camp for 3 years in the middle of the desert. It was the most fun and some of the best companionship of brothers that I had experience which still to this day, the reason why this movie is so important to me.

Before I forget, that iconic Steve McQueen motorcycle jump scene. He's just so badass. He is called the king of cool for a reason! He is still my favorite actor of all time.

Watched this movie again, reminds me, how freaking good were the 80's fantasy films back then. First saw this in a cable TV way back, and it mesmerized me right away. I remember waiting for that dragon to come out, anticipated for its appearance. The creature looks menacing! Back in the day, there's only a handful of well made fantasies that has better production. This delivers all the goods of what a dark fantasy film should look like. This is way before CGI's.

May contains spoiler below.

It started slow, introducing a bunch of characters. You have this old sorcerer but later it was his apprentice who leads the way, who later is the "Dragonslayer" himself. More like a kingdom wants to get rid of the dragon that was haunting them for centuries. Story wise, it's not really engaging with any drastic climax. What really blew me away were the practical effects especially how they made that Dragon looks. It feels alive and authentic. Yeah sure there are some noticeable poorly aged special effects here and there (that part were the dragon moves around, flies beyond the skies). But I mean for an early 80's movie 1981 to be exact, this was mind-blowing back then. The last scenes of the final act is my favorite. Imagine a Dragon against the sorcerer at the cliff of the mountain, to the skies and beyond, while waiting his apprentice waited to destroy that amulet amidst the thunderstorm. It is that epic.

Speaking of epic, the cinematography is just beautiful in this film. You got wide array of shots from the landscapes across Wales and Scotland, sweeping mountain vistas and dramatic shots. To the dragon's lair with huge rocks and caves.

I've seen people asking for suggestions what are those dark fantasy films that has a nostalgic of classic 80's style. I mean there's a bunch to choose when it comes to 80's dark fantasies. But this one should be on the top of that list. I'd rather choose this film, than any of the over the top, with exaggerating green screen effects and CGI's any day.

As long time follower of the series I'm just glad Connery is back in "Diamonds are Forever" after a one movie hiatus. Sadly this was his last official Eon Productions film as Bond. Though he came back in "Never say Never Again" in the 83 in a independent non-Eon Bond movie. This is probably the weakest entry of the Sean Connery lead Bond series IMO. Much more tackle.

May contains spoilers below.

Well aside from its budget, I was thinking why these producers can't take it up a notch when it comes to the film's budget. I mean it's the one of the biggest if not the biggest franchises ever. You know fans wanted more from Ian Fleming's spy thriller and it's always jam packed in theaters. I mean those cheap explosions from Helis to submarines to the nuclear silos, and it feels like everything is rushed. Maybe the pacing, like for example when Bond was just talking to Mr. Whyte about Blofeld's plans, then the next scene, he was already on that plane invading Blofeld's oilrig. I'm not sure if it is badly edited or what, but compared to the previous entries, I thought those films are very well constructed chapter per chapter. Ok I get it they're trying to fit it into the whole 2 hours, but they should get rid of some convoluted scenes instead of those important ones that connects to the more important scenes if that makes sense.

The Bond girl in this film, well she's beautiful as Tiffany Case (Jill st. John) but she's probably the weakest Bond girl compared to the previous ones IMO. Again they change the casting for the main villain Blofeld. Charles Gray as Blofeld I thought, he did a very magnificent job. The thing is they changed the actor for like 3 times already at this point. As for Connery as James Bond, he did alright he's still the right man for the job when it comes to this role. Oh there are two new villains here Mr Kidd and Mr Wint. Well, they are subpar when it terms to Bond villians more like over the top characters.

I do have my favorite parts in this movie. The car chase scenes in Vegas where Bond and Ms. Case in a Ford Mustang chased by a group of police cars. I thought that was badass. Fun fact, the stunt man who did the jump from the parking lot over the parked cars was Bill Hickman, the same stunt driver who drove the Charger in Bullitt and the Pontiac in The French Connection. The close encounter fight scene at the elevator against Peter Frank, reminds me of that train fight scene in "From Russia with Love" that is really well choreographed! And the music, the song Diamonds are Forever. I mean you can't go wrong when Shirley Bassey performed a James Bond intro. From Goldfinger to DAF, one of the most powerful, dynamic voices you'll ever hear.

Despite its flaws, it is still one of the most successful Bond films ever. From a budget of 7.2m and it generates 116m, I mean how big is that in the 70s. If adjusted for inflation, it is still in the top 10 highest gross Bond films of all time.

“Thank you. Have a nice day”

What’s to say about Chopping Mall when you realise it’s a Roger Corman production? Well you instantly become aware this is going to have a low budget, amateur hour acting and bargain basement effects. If that’s your bag, you’ve come to the right place.

The premise is suitably ridiculous; several people attending an after hours party at a shopping mall are hunted down by the mechanised ‘Kill Bot’ security after they malfunction due to a lightning strike. Logic goes out the window, or through several store fronts broken glass, and in comes nudity, hilarious dialogue and inept survivors. Shot in a real mall after closing you would think they’d be able to stretch the budget but I presume it was spent on the bots.

The machines themselves come across like demented Johnny 5’s from Short Circuit. Big and bulky with the bizarre ability to shoot lasers from their faces and ridiculous crab like appendages to slice and grab, alongside the ability to taze and stun. They have tank treads which made me think, just go upstairs, especially after a lift is taken out! There’s several scenes where the characters could easily escape leading to some over the top deaths. One characters flammable fate is quite amusing considering it’s blatantly, possibly, a man in a blond wig. Also, she could’ve just rolled out the way.

The characters are a bunch of white, pastel and denim wearing bland types with big hair. We know next to nothing about them beyond surface level information, but then who cares. Mike, the arsehole, forever chewing gum, nerdy Ferdy, brain dead Leslie… and on it goes. But our final girl, the virginal Allison, Kelli Maroney, at least gives good action heroine when called into action in the ‘explosive’ finale.

The film amuses both intentionally and unintentionally. Some of the dialogue can’t truly be serious with lines like, “I guess I’m just not used to being chased around a mall in the middle of the night by killer robots” and “what’s that? Robot blood”. Also, the aptly named store where they tool up, ‘Peckinpahs Sporting Goods’ raises a chuckle.

Elsewhere kills are for the most part tame, barring one head explosion, but there’s plenty of fun to be had in the terrible decisions made by both director, Jim Wynorski, and the characters in the film.

Oh, and the icing on the cake has to be the freeze frames at the end with the actors’ names appearing like a tv show, Suzee Slaters being the best.