Mark talks about Star Trek The Original Series, Season 2, Episodes 11-20
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Mark talks about Star Trek The Original Series, Season 2, Episodes 11-20
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A decent Disney entry, with some pretty good songs, a memorable villainess, and some good comedy sequences. I laughed out loud in the bit where Sebastian is confronted with the horror that is the kitchen of a French chef.
However, not perfect. The whole ‘Ursula as the other woman’ plot was cursory and rushed, but I was kind of thankful it was. Any longer would have dragged the film down. 80 minutes is the right length for this sort of thing.
Wow, how can a movie that opens with world war 3, and then features giant scorpions, killer cockroaches, murderous, rapey irradiated hillbillies and a flood be this boring? And it has Jean Michael Vincent and George Peppard!
The only cool thing about it was their land cruiser, and some of the sky special effects.
I saw this movie maybe 30 years ago, and enjoyed it a lot better then. Maybe it’s better suited to young teens. In the 70s.
Pretty damn good procedural murder/detective story from Hitchcock, where the cool, meticulous planner becomes unravelled by little deviations from the plan.
The only thing that seems unbelievable is what man in his right mind is tired of being married to Grace Kelly?
In the police inspector, I see the spiritual parent of Columbo.
The fun, possible influential, silly Barbarella with the beautiful Jane Fonda.
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Rather charming Disney feature, unusually (at this time) a sequel. The animation seems to be a distinct step up from the late 60s/70s animation style (though many of the Disney’s from this period are classics, despite a basic animation style), and it’s a nice, light tail with a dark central character in the evil poacher, played nicely by George C. Scott.
I didn’t check this out, but the animation style, particularly of the poacher and his monitor lizard, seem very Don Bluth.
Ferocious and very original, this shows what someone with talent can do with a small cast, a single set, and an idea seen through to the end.
I have to confess I did not follow what was going on in some parts, but I did appreciate the talent on show. All the acting was rather fine, especially Stephen McHattie, who came across as a wrinkled mix of Willem Defoe and Joe Spinell (but was always his own, clear, self).
It didn’t scare me, but it did keep be switched on and intent through the entire time.
First watch!
Rather finely paced story, with simple but smooth and pleasing animation, fine comedy characters, and a story that stays simple and effective. They really cast fine vocal talents too.
I can see why this is considered a modern Disney masterpiece.
This is archetypally 60s goofy fun. There’s a LOT of things wrong with it, such as the constant padding of the story and the absolutely terrible special effects, but you know what? It’s fun, it’s extremely creative in its look, art design and so on, and Jane Fonda is absolutely getting it. It also helps that Fonda is achingly beautiful and sexy, and it’s pretty much her central charismatic performance that allows this movie to deliver at all.
Rather wonderful, inheriting its spirit and art from early Flash Gordon and Planet of the Vampires, and itself becoming the spiritual parent of Battle Beyond the Stars, Starcrash and the 1980 Flash Gordon.
Great theme song too. All together now…’Bar-bar-ella, psy-che-delaaaa’
A rather overambitious movie that actually chops its 3 acts into 3 related, continuous but distinct stories, looking at fatherhood, and how absence and presence of a father (both literally, and absent by not paying attention) can affect the son, in a cycle. It’s a look at the whole ‘the children pay for the sins of the father’ type thing, I guess, but more subtle than that.
I liked it, but I think the first act works the best for me, and I’d’ve liked to have seen that through to a more satisfying conclusion, and the veering off into a new story threw me, but it actually worked well once you adjusted.
The third story, however, suffered from two problems. It really felt like an unresolved solution to what went before for the most part (but not wholly) was the first problem, and the actual personality/behaviour of one of the main characters felt quite hokey and just not earned or authentic to the story. We miss out some necessary dramatic glue, too, informing us about one of the father-son relationships, and how it got to be the way it was.
Having said all that, it was a very well made and acted movie, and I enjoyed it, and am glad I finally got around to watching it.
Sam and Mark talk about a few movies and games watched/played since last time, and about Guy Ritchie’s first two commercial movies, Lock Stock and Two Smoking Barrels, and Snatch
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Very mildly amusing, and feels like you’re rushing through a much bigger story. Or seeing the edited highlights of a 6 hour miniseries. I guess they wanted to hit the main story points of the original TV series, but that’s just a guess.
However, it was kind of fun, if you have a high tolerance to a plot that snakes about wildly and doesn’t really settle. Also, the beginning and end segments, with Will Ferrell being interviewed as his character in a talk show, seemed more Ron Burgundy than this movie.
Rather enjoyable, cheap but competently made that mixes elements of the Star Trek episode Arena, Battlefield Earth (and I mean the story, not the rank filmmaking), and Enemy Mine in a blender and comes up with a pretty satisfying product. Very enjoyable.
Whilst this is a lightweight comedy/drama, I found it a very satisfying and fun watch, and even felt I learned something about crewing in a submarine. The cast was good, in particular the crew – even Rob Schneider was okay in it. Definitely worth a watch.
Passably entertaining and benefitting from some good cinematography and sound design, and some quite great-looking ladies, giving it an old Hammer vibe, it could definitely have been funnier, but James Corden and Paul McGann as a potty-mouthed vicar and a not-too-long running time make it a reasonable, lightweight diversion.
Amazing debut from Guy Ritchie, who combines colourful characters and some dazzling camerawork with funny, highly-stylized dialogue. Even non-actors shine reasonably well in this (Lennie McLean and Vinnie Jones), and it’s cool to see some guys who I still enjoy seeing – specifically Jason Statham and Jason Flemyng – and whilst it does have rough spots and some sections that clearly have non actors in speaking roles, it trundles along nicely, guiding the viewer through the convoluted plot with a confident hand, and borrowing part from Tarantino’s snappy dialogue, part from an old British tradition of loveable rogues that stretch back to The Italian Job and on to old black and white comedy caper movies with Peter Sellers, Alistair Sim and Alec Guinness.
Marvellous.
Whilst Guy Ritchie’s directing career has been up and down (and I’m glad it’s now on the up, after his rather fine take on Sherlock Holmes), this reminds you why he deserves to still be in the game. Okay, there’s some overflashy visual flourishes, but we have a convoluted, multi-character story that sprawls all over, but Ritchie keeps is straight enough to follow, entertaining enough to keep you interested till the end, and shows us some rather good comedy-gangster monologues along the way.
THIS IS FUN.
In this episode, Mark and Sam cover 3 movies directed, written and/or acted in by the late, great Harold Ramis. Plus a number of other movies we’ve watched since last time.
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The discovery of the structure of DNA by Watson and Crick…
I haven’t seen this since the first (and only?) time it was aired on the BBC, and there were whole scenes I remember quite distinctly. It takes the great tack of presenting the race to work out the structure of DNA as a dynamic detective story, which clever people trying to work out the puzzle from the patchy evidence.
What really makes it so watchable is Jeff Goldblum in his prime, acting like a hyperkinetic, goggle-eyed predatory bird, marvelling over evidence, harassing people at the oddest times, and drilling towards the truth as James Watson.
This is marvellous, and I give it 1/2 a star extra just because it’s so little seen, and should be seen by more people.
Made at the tail-end of the Hammer era of horror movies, this is a rip-roaring, swashbuckling horror movie, with Captain Kronos killing vampires with a Katana many years before Blade got to it, this is just a lot of fun. There’s whole new vampire mythology being made up in this one, with vampires coming in a lot of varieties and with distinct ways to kill them, and whilst the lead is a little uncharismatic (he looks like Bjorn Borg), it really cracks along at a fair pace, and is thoroughly entertaining. I think this guy was Hammer’s attempt to provide a hunk for the ladies maybe. Hammer were always good at providing attractive young ladies for guys to look at, and whilst Peter Cushing and Christopher Lee are fantastic, they aren’t exactly hunk material for the ladies.
The central friendship between Kronos and Grost is also pretty good, with a few lines giving a decent feel for how much they mean to each other. I also liked the scenes involving the inn bullies, which I suspect was padding to fill out the time as it really didn’t connect with anything else, but were actually pretty good at illustrating what a badass Kronos was. The whole working out how to kill this species of vampire was cool too, and there were other nice imaginative touches to this (the time-freezing during the vampire attack; Kronos making the vampire self-hypnotise and freeze; the entire sword-fight).
Also, Kronos gets a little roughsex with Caroline Munro.
Deserves a remake.
Oh, and the gorgeous Caroline Munro is in it.
Oh, and Benedict Cumberbatch’s mum is in it too.
3.5/5
A decent enough scifi actioner, but it does cram about 5 hours of story into 2 hours. It also suffers because it successfully conjures up other, better scifi movies. You can detect 2001, Moon, Wall-E, Planet of the Apes, Star Wars, Predator, and even the old TV series Terrahawks in there.
Remember to concentrate.
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A middling Disney effort, with some effective, if maybe a little jarring, mixing of traditional animation and CGI. It’s too long (15 less would have been better), but the main characters are well developed and charming, there’s some fun stuff for smaller kids, and the character development and story development build nicely.
Definitely not top tier Disney, but solid middle tier.
This is an outrageously good-looking film, and every scene has tantalising and enthralling composition. It engages and keeps your attention.
However…
The motivations and character development of the main focus of this story is just odd. I will avoid spoilers so I’ll not elaborate too much, but it jarred a little, and you had to have patience and acceptance of some pretty strange character development to really enjoy this film.
It nearly lost me, but it didn’t. I think mostly helped by the great performances.
Damn, it’s beautiful to look at.
Here’s the link…
Well, it’s really cheap, but nowhere near as bad as I was expecting, basically ripping off Alien and throwing in a good dose of Solaris as the driver for the mayhem. And some yucky alien-worm rape. However, to break it down:
The Good – some of the set design and ideas. Robert Englund!
The Bad – Not scary at all, blatant, poorly executed rip of Alien.
The Odd -Joanie from Happy Days acting all grown-up actress/nutty. Nutty ending. Alien worm/tentacle rape. It tries to get all existential at the end, which doesn’t fit the cheap and cheerful vibe.
Goofy horror movie that just about works. Some of it isn’t great – the dialogue is not good (it’s clichéd) but delivered with some gusto, and you can tell some of the scenes probably seemed much better on paper than was actually delivered, but there was some good stuff. The zombie/monster design and choreographed movement was pretty good, and it wasn’t just plain zombies, it was part-zombie, part-resident evil mutant, and part deadite. There was an obvious riff on the eyeball scene in Evil Dead 2 that involved a golf ball, and there were several well-set-up scenes.
A Q and A with Kevin Smith of distinctly two halves. The first half (or more like, first hour) is pretty great, where he talks about his interaction with the Westboro Baptist Church, and the making of Red State. The last half hour is more to do with how he feels about art, his reasons for approaching movie making how he does now, and so on, and is nowhere near as entertaining. It is, however, from the heart.
Definitely worth seeing for that first hour, especially if you like Red State and/or other Kevin Smith Q and A’s.
A decent sequel to the impressive first one…and I say impressive, because it really shouldn’t have worked, Thor as a comic book character works, but I just couldn’t see how it could possibly work at a serious level when put to film…and Branagh achieved it, much helped by the acting chops of Anthony Hopkins and Tom Hiddleston.
Given the fine groundwork laid in the first one, this stays on that steady bedrock, and has a seriously intense (non-camp) villain, and brings back both Hopkins and Hiddlestone for a reasonably satisfying story. The ending got a little Man Of Steel, but overall, it was a well-put together, darker sequel that delivered.
Pretty good early Jerry Lewis movie, where there’s a distinct lack of mawkishness and plenty of goofy fun. The supporting cast is pretty good and energetic too, and there’s some nice touches, such as Jerry walking up a wall and across a ceiling, and some fun with a talking dog and cat.
charming.