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Old 05-31-2016, 10:57 PM   #1561
fuzzyroes
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Also got around to watching the Vacation. Fuzzy's verdict: *having a hard time deciding between a C and C+*

Noyens right, It's incredibly stupid but Ed Helms was great in it. It's pretty much just comedic bit after comedic bit with no real story line (i suppose much like the original was anyways). The good part was if one comedic bit fell flat there was another one right around the corner. So while it was a rather unfulfilling watch, I can't say I wasn't entertained.

 
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Old 05-31-2016, 11:14 PM   #1562
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i really enjoyed the first few x-men's by brian singer but everything since then has been complete bullshit (inc the prequel-y ones that came out like a couple years ago that for some reason everybody liked).
the first prequel one was entertaining but I wouldn't say it was good. Saw it with the ex, she was real quiet as we walked back to her place. We sit on her bed and I ask her what's wrong. She bursts into uncontrollable ugly, choking tears. Nonplussed and alarmed, I try to stroke her arm and ask her again gently what is the matter, but she pushes my hand away.

"Don't you understand?" she manages to get out between violent sobs. "They were a family and they were all torn apart by the evils of extremist political ideologies."

 
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Old 05-31-2016, 11:26 PM   #1563
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You guys are surprised that an X-men movie sucks?

 
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Old 05-31-2016, 11:30 PM   #1564
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the first prequel one was entertaining but I wouldn't say it was good. Saw it with the ex, she was real quiet as we walked back to her place. We sit on her bed and I ask her what's wrong. She bursts into uncontrollable ugly, choking tears. Nonplussed and alarmed, I try to stroke her arm and ask her again gently what is the matter, but she pushes my hand away.

"Don't you understand?" she manages to get out between violent sobs. "They were a family and they were all torn apart by the evils of extremist political ideologies."
this cannot be real

 
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Old 05-31-2016, 11:36 PM   #1565
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dude I know I will never find another one like that

 
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Old 05-31-2016, 11:38 PM   #1566
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Good riddance.

 
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Old 05-31-2016, 11:41 PM   #1567
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wait rbg was this the girl you were with for 4 years with the skype thing, or a different girl?

 
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Old 05-31-2016, 11:43 PM   #1568
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That was 4 years I thought we were going to get married girl. There is no one else on this planet like her. She is a truly original human being.

 
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Old 05-31-2016, 11:46 PM   #1569
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i can't make up my mind if that story is really or actually kind of endearing

 
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Old 05-31-2016, 11:51 PM   #1570
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Miracle Mile - B+

LOVE 80s gems like these. Amazing Tangerine Dream soundtrack


Niagara - B+

Sumptuous 1953 technicolor noir with Marilyn Monroe, awesome

 
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Old 06-01-2016, 05:08 PM   #1571
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i can't make up my mind if that story is really or actually kind of endearing
lol that's nothing compared to the time she read the brothers karamazov.

 
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Old 06-03-2016, 05:16 AM   #1572
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Movies I gone and done seen

Mulholland Drive
The film plays with themes of identity, with Watts' and the Herring's characters gradually merging through Rita's helpless dependency and the two characters' mutual admiration of each other. Facets of the same identity seem to manifest in different characters throughout the film; there's the part where Herring dons a wig that resembles Watts' haircut, but it also happens to be a similar haircut to other passing characters, such as the "Camilla" actress that the shadowy antagonists force into the director's movie, and a prostitute that the hitman speaks with.

The scene at the theatre in which the audience is told that "everything is an illusion" marks the turning point in the film in which the characters are given a 'key" that unravels the narrative. From this point, Watts' character shifts from Betty to Diane, who happens to be the dead woman the two main characters stumble across earlier in the film (which adds a retrospective layer of irony when Betty calls her phone and says, "it's strange to be calling yourself"). I'm not really certain, but it appears that the film up until this point was Betty's imagination, a reaction to her unrequited love for Camilla (Herring's character at this point) and guilt over having her murdered. We only saw an idealistic fantasy in which Watts has a promising career ahead of her rather than being a failed actress, and Herring not only returns her love, but has no existence outside of her. However, I'm not sure if I'm totally satisfied with this interpretation, because if so, what the fuck is that subplot about the evil guys trying to control Kesher's movie all about. But this interpretation does explain why characters and elements from Diane's real life are repurposed in her dream, just as our dreams are often constructed from familiar things. For example, Diane takes her identity as "Betty" from the name tag of a waitress, and in her dream, the reverse happens, where a waitress' name tag reads "Diane," which in retrospect probably hints that her fragile fantasy cannot completely suppress her true identity. The prostitute that resembles her and the dead Diane are probably manifestations of her failure as an actress, which she wants to distance herself from by making them different people entirely. I have no idea what the "Camilla" in the dream is supposed to represent. In fact, I kinda think the movie would had made more sense without that subplot, but whatever, it was a good movie anyway.

Big Fish
This is one of those movies where the movie I imagined after reading the premise was much better than the actual movie. I was expecting it to explore the relationship between the father and son and perhaps the father hiding behind his tall tales to avoid coming to terms with his shortcomings, but the movie spends way more time on the dramatizations of his stories than the "real world", so it's more just a collection of these little Tim-Burtony fantasy vignettes, just kind of held together with the framing device of "Billy Crudup is upset." Also, Billy Crudup's acting sucked in this.

Pi
Not a bad film overall. I tend to dig psychological thrillers that deal with stuff like obsession and hallucination. However, I had some problems with this film.
So, Max Cohen is a guy who believes that "everything in nature can be described by numbers," and so he searches for the patterns in everything and is trying to crack some pattern in the stock market.
Except, "everything can be described by numbers" is a vague statement. In order to describe something with numbers, I have to identify which property I'm talking about. Like, telling you to "describe this room with numbers" has no meaning. But I can describe the dimensions of the room with numbers, or the room temperature with numbers, or the number of objects in this room, etc.

The problem with this film is that it's never explained just what the main character is looking for, they just rely on a bunch of math-y sounding statements, or showing the character scrawling A = πrČ, because apparently mathematicians spend their time writing high-school formulas to show that they are mathematicians. I obviously don't think that the quality of a movie is dependent on how accurate they are to math or science or whatever, but if the entire crux of the film is some guy doing math, it's nice if they do a little research to add some verisimilitude instead of just being like "this guy is SO math." It's different when something is just a plot device to further the story, in which case I forgive stuff like this, than when the plot is actually being driven by it, but it makes no sense.

Like, okay, this guy is trying to find a pattern in the stock market, which consists of him typing shit in a computer and then pressing "return" at exactly the right time. It's never explained just what sort of pattern he's looking for, or what sort of data he's entering. Like, if he entering data about past conditions of the stock market so that he can find some formula that will allow him to make future predictions? It's never really said. He just eventually comes across this 216-digit number that apparently is a magic number that predicts stock market stuff and also may be a mystical number that goes far beyond the stock market and may be god's name. Except, a single number in isolation doesn't really mean shit and I can't see how it could be used to predict anything about the stock market, and that's never stated. But anyway, these people who have been following him and want to use him to get rich find his magic number and use it to win at the stock market or something, but they accidentally crash it. Wait, just how do the transactions of a single speculator fuck up the world-wide stock exchange? Well I dunno but anyway, the guy's mentor who is a mathematics professor is indicated to have come across this 216-digit number himself and keeps on trying to keep the main character from going down that path and being consumed by his obsession. The main character represents the view that everything follows an order and can be described mathematically, while his mentor has the view that some systems are inherently chaotic. It's an interesting theme, but they never flesh it out that well.

So anyway, the film ends with the number tormenting the main character so much he drills out the part of his brain that makes him good at math, and at the end, we catch him looking at the trees again just as he was at the beginning, but instead of trying to think about the mathematical structure of the leaves, he is just enjoying the beauty of the trees.

I thought this was a not bad film, but it's pretty frustrating that it has some good ideas in there that it doesn't seem to explore as well as it could. But I did dig the high-contrast photography, and the depiction if his deteriorating mental state as his migraines increase and he begins to hallucinate things like pulsing brains on subway stations.

 
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Old 06-03-2016, 07:04 AM   #1573
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Movies I gone and done seen

Mulholland Drive
The film plays with themes of identity, with Watts' and the Herring's characters gradually merging through Rita's helpless dependency and the two characters' mutual admiration of each other. Facets of the same identity seem to manifest in different characters throughout the film; there's the part where Herring dons a wig that resembles Watts' haircut, but it also happens to be a similar haircut to other passing characters, such as the "Camilla" actress that the shadowy antagonists force into the director's movie, and a prostitute that the hitman speaks with.

The scene at the theatre in which the audience is told that "everything is an illusion" marks the turning point in the film in which the characters are given a 'key" that unravels the narrative. From this point, Watts' character shifts from Betty to Diane, who happens to be the dead woman the two main characters stumble across earlier in the film (which adds a retrospective layer of irony when Betty calls her phone and says, "it's strange to be calling yourself"). I'm not really certain, but it appears that the film up until this point was Betty's imagination, a reaction to her unrequited love for Camilla (Herring's character at this point) and guilt over having her murdered. We only saw an idealistic fantasy in which Watts has a promising career ahead of her rather than being a failed actress, and Herring not only returns her love, but has no existence outside of her. However, I'm not sure if I'm totally satisfied with this interpretation, because if so, what the fuck is that subplot about the evil guys trying to control Kesher's movie all about. But this interpretation does explain why characters and elements from Diane's real life are repurposed in her dream, just as our dreams are often constructed from familiar things. For example, Diane takes her identity as "Betty" from the name tag of a waitress, and in her dream, the reverse happens, where a waitress' name tag reads "Diane," which in retrospect probably hints that her fragile fantasy cannot completely suppress her true identity. The prostitute that resembles her and the dead Diane are probably manifestations of her failure as an actress, which she wants to distance herself from by making them different people entirely. I have no idea what the "Camilla" in the dream is supposed to represent. In fact, I kinda think the movie would had made more sense without that subplot, but whatever, it was a good movie anyway.
back off asshole, ranting about movies for this long is MY thing!

actually, not to rag on you specifically, but guys analyzing lynch's work like this always kind of amuse me. i feel like i have some grasp on his working method and i'm fairly convinced it's absolutely not as narratively sound as you think it is.
he just works with imagery, in an instinctual way, taking an idea and branching it out into all sorts of directions, sometimes simultaneously. when i watch a david lynch movie i just like to experience it like a hallucination, or a trip, and not try to decode it to extract some punch line or moral from the story.

if you would like to subscribe to some more of my longwinded keyboard tugging on this subject, i've also written a long winded review of Mulholland Drive in the recent past IIRC.

Last edited by teh b0lly!!1 : 06-03-2016 at 07:12 AM.

 
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Old 06-03-2016, 08:25 AM   #1574
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lol Pi

 
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Old 06-03-2016, 10:28 AM   #1575
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Never have I tldr so fast

 
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Old 06-03-2016, 03:34 PM   #1576
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back off asshole, ranting about movies for this long is MY thing!
Your life is not your own

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actually, not to rag on you specifically, but guys analyzing lynch's work like this always kind of amuse me. i feel like i have some grasp on his working method and i'm fairly convinced it's absolutely not as narratively sound as you think it is.
he just works with imagery, in an instinctual way, taking an idea and branching it out into all sorts of directions, sometimes simultaneously. when i watch a david lynch movie i just like to experience it like a hallucination, or a trip, and not try to decode it to extract some punch line or moral from the story.
I actually completely agree with you, which is why I'm not very satisfied with the "the movie is Diane's dream" interpretation. When watching it, I felt like both parts were equally "real" in the narrative. I just used this interpretation because, I felt like in order to talk about the film, I had to say something other than "it makes no sense lol but that's the genius of it haha," because that never satisfies me, either.

Like, I feel like I shouldn't like this movie, even though I do. When most films have illogical plots, I'll happily shit on them, but with this one, I'm all like, "but it's art though." And of course I recognize that stories can create meaning through things other than literal plot, such as symbolism and imagery and other narrative devices, but even when I look at the movie in that way, it's hard to say what a given element "represents," the purpose of a given scene, the kind of ideas that the director is trying to get us to reflect on. It seems like the common answer is "no one is sure because it's a myyystery haha lol so art house so genius wow Lynch," but that just seems like a cop out. Like, most scenes, I can intuitively feel how they support the work, but then we have the whole subplot with the deformed guy wanting to control the director's movie, and the scene with the hitman, and I'm like, I don't even.

I know they say that "writing about film is like dancing about poetry" or something, but I don't think that's true, because language is obviously different from dancing in the sense that it is the form of communication we use to communicate abstract ideas about anything.

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if you would like to subscribe to some more of my longwinded keyboard tugging on this subject, i've also written a long winded review of Mulholland Drive in the recent past IIRC.
Is it in your personal film review thread?

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lol Pi
I think I made it seem like I disliked the film more than I did because I tend to rant about the shit that didn't work instead of listing the stuff that I liked. And overall, I liked it, but still, a lot bothered me.

 
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Old 06-03-2016, 04:16 PM   #1577
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There's a theory going around, or perhaps has been around for awhile, that Mulholland Drive and Twin Peaks take place in the same universe, and that the new series will bridge that gap.

 
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Old 06-03-2016, 04:41 PM   #1578
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Moar reviews

The Limey
Eh, it was an okay watch, but mostly a pretty generic revenge thriller. Terrance Stamp is badass, but I never actually believe that he's a guy who lost a daughter he loved in this. He just seems too detached and you never really see that grief.

I guess I found it interesting how they kept on doing that thing where a dialogue would be broken up across scenes and shots, or how they might cut between shots of the character saying their dialogue in real-time to making the dialogue a voice-over over shots of their expressions and reactions during different parts of the scene. I can't really explain what I'm talking about, you have to see the movie. Except it's not an amazing movie so you don't really have to see it.

Synecdoche, New York

I really enjoyed this one. Hoffman's character, feeling a sense of unaccomplishment, seeks to create a large biographical theatre production, which also dramatizes the production of the play itself, creating a recursive Droste effect of a narrative. The first act of the film is fairly linear, but after Hoffman's wife and child go on a trip to Europe, things start to get weird. At first, the episodes that occur after this appear to be so absurd that they must be a dream sequence (it looked like Hoffman's family's trip turning into them leaving him forever was just his imagination, and also the scene with Hazel buying a burning house), but the film makes no attempt to partition the film's narrative into "real" and "dream," and it appears that everything that occurs is "really happening" in some way or another. Even in retrospect, you realizes that the "dream logic" started as soon as the film began, with time moving in odd ways and seeming to move differently for Caden than for everyone else.

Caden's ambitions to create a meaningful work lead to his production becoming larger and larger as time goes on, but it never being brought to fruition and being so wide and arbitrary, it never seems to say anything at all. Meanwhile, his ex-wife's works become smaller and smaller, even microscopic, while still saying more than Hoffman's character can manage to. Complete fidelity to reality seems to preoccupy Caden more than anything, as there is even a scene where the character playing Caden in his play commits suicide, and instead of feeling shock and grief, the real Caden complains that the action was biographically inaccurate, because he never actually jumped. He then tells the actor to get back up, as if Caden himself can no longer distinguish the diegesis and extradiegesis of his own play.

Things get more tangled in fractals when an actress in his play takes over his role as director (is she the director, or playing the director?), and Caden takes over the role of his ex-wife's custodian in an attempt to get closer to her by tending to a facsimile of her home.

Though Caden began his play with the intention of dealing with his feelings of impending mortality and wish to do something significant before he dies, at the end of the film, it seems the play has never opened, and Caden's life project of grandiosity, veracity, and accomplishment for the sake of it has prevented him from living a truly real or meaningful life. It appears some horrible calamity has claimed the world as he walks past the bodies and debris in the streets, but it's unclear if this was only a scripted scene in his own play, or something that has truly happened. Either way, he seems not to care or even notice, as Caden seems to have lost the ability to actually respond to the world around him. His death, which seems to be both real and scripted, recalls the scene in which Hazel buys the burning house and is told that the "end is built into the beginning," and that she was choosing how she was going to die.

Good stuff, all of my thumbs up, really dug this.

Persona
It was interesting seeing this not long after watching Mulholland Drive, especially because of I was unaware of this film's influence on Lynch's work before seeing it, but it's really apparent to anyone who watches both movies. The films share a lot of ideas and themes and symbols, such as the blurring of two identities. You even see where Lynch got that shot where he blurs the profile of one was with the frontal of another face to create this weird composite face from. Both films also seem to have a character whose admiration for another character turns into violent resentment later in the film. Both films also rewind to the beginning when this change takes place.

So, Elisabeth is an actress who suddenly becomes mute, and is placed in the care of nurse Alma. It's never explained why Elisabeth refuses to speak, but it seems to have to do with withdrawing from the demands and strife in the world. I can't remember, but I think that scene where she suddenly stops speaking during a play has her laughing, and she also later laughs at a radio soap Alma puts on for her, indicating that she can no longer take such dramatizations of pain seriously. But she finds herself unbearably disturbed by real suffering, such as a self-immolation she witnesses on the news, or an image of Jewish people, including children, being arrested by the SS.

Alma finds herself disclosing sensitive details about her life due to Elisabeth's silence, which she later regrets after seeing a patronizing letter Elisabeth wrote about her. Alma comes to see Elisabeth's silence as a refusal to render herself as vulnerable as Alma has made herself, and desperately tries to get Elisabeth to speak, to the point of threatening her with violence in order to get her to interject out of fear. It seems that Alma's motivation becomes making Elisabeth vulnerable by opening wounds such as those about her unwanted son, and her relationship with her husband, which Alma usurps by pretending to be Elisabeth, in plain view of the real one. The blurring of their lives seems to be represented by the scene of Alma recounting the story of Elisabeth's unwanted son's birth being played twice, the first time with the camera on Elisabeth, the second time with it on Alma, drawing parallels to Alma's own story of having had an abortion. I think the boy at the beginning, who looks at the blurred faces of the two women from behind a barrier, represents the child that both women are inaccessible to: Alma's, because the boy is her hypothetical son who never lived, and Elisabeth's, because she always withheld affection from him.

 
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Old 06-03-2016, 04:44 PM   #1579
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There's a theory going around, or perhaps has been around for awhile, that Mulholland Drive and Twin Peaks take place in the same universe, and that the new series will bridge that gap.
Hmm. Well, the movie did start out as a pitch for a television show that ABC rejected, prompting Lynch to refashion it into a film. It's possible that the original show would had had ties to his other show. I dunno, though, since I never watched Twin Peaks.

I kinda feel like that's why some of the subplots feel out of place in Mulholland Drive. They would had been an arc that played out over the course of a season, probably.

 
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Old 06-03-2016, 07:49 PM   #1580
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"We Are Who We Are"

didn't see that ending coming. tempted to give it 5 stars out of five. a good creepy low budget horor movie

 
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Old 06-03-2016, 08:10 PM   #1581
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Hmm. Well, the movie did start out as a pitch for a television show that ABC rejected, prompting Lynch to refashion it into a film. It's possible that the original show would had had ties to his other show. I dunno, though, since I never watched Twin Peaks.

I kinda feel like that's why some of the subplots feel out of place in Mulholland Drive. They would had been an arc that played out over the course of a season, probably.
you should watch twin peaks and we can talk about it in the tv thread. it's the best thing lynch has done for sure. I think having other people involved to temper him helped

 
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Old 06-03-2016, 10:20 PM   #1582
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i've been meaning to watch twin peaks forever but i just never get around to it

 
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Old 06-03-2016, 10:30 PM   #1583
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what is wrong with that guy.. what prompts you to hold a crab so close to your face like that.. was he wanting that to happen?

pretty coll crab though

 
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Old 06-03-2016, 10:49 PM   #1584
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LOL he's russian

 
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Old 06-03-2016, 10:51 PM   #1585
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i would take 10 Pollocks over one Russian any day

 
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Old 06-04-2016, 12:18 AM   #1586
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i've been meaning to watch twin peaks forever but i just never get around to it
it's worth it. just 30 episodes, although between episodes ~15-25 the quality sharply falls off. it's redeemed at the end when frost and lynch come back though

 
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Old 06-06-2016, 09:54 PM   #1587
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Baraka. A+. Watch high

 
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Old 06-19-2016, 01:06 PM   #1588
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i've been sick for the last week and a half so i'm watching a lot of netflix and amazon



10 Cloverfield Lane (A+) my kind of creepy sci fi

House Hunting (C) two families each looking to buy a home show up at a rural house and are unable to leave. not bothered by the low fi production quality, but the plot holes were too blatent and editing out 20 min would have probably fixed it.

The Abandoned (B) a woman works the night shift as a security guard at an obviously haunted old building. big reveal at the end was too obvious, but watching a cute female protagonist get chased through dark hallways and basements is entertaining.

Out of the Dark (B-) Julia Stiles and the hunky boyfriend from Felicity move into an enormous old home in the jungle of Columbia and then horror plot happens

The Damned (B) Coop from Nurse Jackie takes a wrong turn in rural Columbia and gets stranded at the home of an old man. Trapped in a haunted house horror plot.

Elena Undone (B) low budget version of hot straight married woman falling in love with out and proud lesbian.

She's Lost Control (B+) a female sex surrogate gets a little too close to one of here clients. very slow burn of a movie but i liked it, probably because i have a crush on Brooke Bloom.

One Eyed Girl (A-) creepy and tense movie about a cult

 
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Old 06-26-2016, 04:43 PM   #1589
FlamingGlobes
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Walk Hard: The Dewey Cox Story - 7/10

Relatively funny movie, but man I forgot how cute Jenna Fischer is. I'm kind of jealous of John C. Reilly for getting to hold her feet for what seemed like ten minutes straight.

 
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Old 06-26-2016, 06:21 PM   #1590
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A Memory On Each Petal: The MonteLDS Story

C+

 
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