What Films Have You Seen Recently?

[Nosferatu@Cult Labs]

Originally Posted by Rob4

I agree with a lot of this. I saw it a few weeks ago now and was thoroughly entertained. I've like all of Eggers' movies so far.

However, I'm for the moment, placing this one at the bottom of the pile. The reasons being is that there were a few irritations, although others may see them as strengths:

Unlike Nos, I was disappointed that the film slavishly followed the originals plot and construction. I always get the feeling when this happens is that you are making a love letter to the original rather than remaking it. I thought the part where it did deviate from the original with the Hardings sub-plot was an interesting nuance not even hinted at in the original. It played out to a grisly climax which was a great pay-off.

Whilst Lily-Rose Depp was perfectly fine in the part of Ellen I think the film lost out by not having the originally cast Anja Taylor-Joy in the part. ATJ would have given a similar performance I think but would have elevated it to a different level.

The biggest problem with the film though, for me, was Willem Dafoe's portrayal of Von Franz (the Van Helsing stand-in). I can't believe Eggers said to him 'go and study Anthony Hopkins' Van Helsing and give me more of that' but it appears that is exactly what happened...

Still, the film is hugely entertaining, with first class production, sound design, make up and effects. And wasn't Nicholas Hoult great?

I'd definitely recommend it despite my caveats above.

I'm not sure whether a different actor playing Ellen would've made a lot of difference, whether Anya Taylor-Joy or anyone else. I was very impressed with Lily Rose Depp and feel the part needed someone who was strong and vulnerable, and Depp was more than capable of meeting that challenge.

Although Ellen is the emotional centre of the film, I think the film was more dependent on the male actors, particularly those playing Count Orlok, Thomas Hutter, Prof. Albin Eberhart von Franz, Knock, and Wilhelm Sievers. In these roles, Bill Skarsgard (with an exceptionally deep voice), Nicholas Hoult, Willem Dafoe, Simon McBurney, and Ralph Inerson all very good.

Simon McBurney probably had a wonderful time as the Renfield-inspired Knock, from going about his business with a little twitch to biting (seemingly live) animals, and babbling incoherently whilst cavorting naked on top of a Transylvania/Satanic symbol. Equally, although I didn't think he was channelling/ apeing Anthony Hopkins, I loved William Defoe's outcast scientist, who uses is knowledge of the occult to decipher the ancient writings and find the source of Nosferatu and lead the hunt to find Count Orlok.

[Rob4]

Originally Posted by Nosferatu@Cult Labs

I'm not sure whether a different actor playing Ellen would've made a lot of difference, whether Anya Taylor-Joy or anyone else. I was very impressed with Lily Rose Depp and feel the part needed someone who was strong and vulnerable, and Depp was more than capable of meeting that challenge.

Although Ellen is the emotional centre of the film, I think the film was more dependent on the male actors, particularly those playing Count Orlok, Thomas Hutter, Prof. Albin Eberhart von Franz, Knock, and Wilhelm Sievers. In these roles, Bill Skarsgard (with an exceptionally deep voice), Nicholas Hoult, Willem Dafoe, Simon McBurney, and Ralph Inerson all very good.

Simon McBurney probably had a wonderful time as the Renfield-inspired Knock, from going about his business with a little twitch to biting (seemingly live) animals, and babbling incoherently whilst cavorting naked on top of a Transylvania/Satanic symbol. Equally, although I didn't think he was channelling/ apeing Anthony Hopkins, I loved William Defoe's outcast scientist, who uses is knowledge of the occult to decipher the ancient writings and find the source of Nosferatu and lead the hunt to find Count Orlok.

Yes, that's a radical change from the original and although I was disappointed the film didn't change enough, I think this was a slightly retrograde step. The new film has been praised for having a feminist view, but in the original Ellen had no need of men to take on Orlok. They were pretty ineffectual. And whilst in the new film Ellen again gets to make the ultimate sacrifice, the greater involvement of the men slightly dilutes the solitary triumph of the original. This is a minor quibble though. I doubt 99% of film's audience have even seen the original.

I guess if you put Hopkins and Dafoe side by side the characters would be different. I just thought Dafoe's broad playing was out of kilter with the rest of the cast in the film.

I agree, the character of Knock was a standout.

[Nosferatu@Cult Labs]

The Fall Guy is an exhilarating love letter to the world of stunt work, delivering a highly enjoyable blend of action, comedy, and romance.

Ryan Gosling shines as a washed-up stuntman, recovering after a serious back injury, pulled back into the chaos of Hollywood when a major star goes missing, and Emily Blunt is equally fantastic as a determined director fighting to make her big break. Their chemistry crackles, making the film as heartfelt as it is entertaining. The story strikes the perfect balance between high-octane spectacle and genuine emotion, celebrating the unsung heroes of the industry while keeping the audience hooked from start to finish.

Beyond the dazzling stunts and sharp humour, The Fall Guy also stands out for the way it champions female directors and the stunt community. Blunt?s character is portrayed with ambition and authority, offering a refreshing spotlight on women behind the camera, while the film itself honours the artistry and danger of stunt work in a way few blockbusters do. Director David Leitch - himself a former stuntman - ensures that every set piece feels visceral and exciting, but never at the expense of character or heart.

As it's a joy to watch and one of those i watched on an iPad, it's a film I'll definitely add to my collection when next in HMV to rewatch on a big screen.

[Nosferatu@Cult Labs]

I chose Madame Web from the Now TV menu expecting it to be bad, but I wasn't prepared for just how poor the screenplay would be. The film is overloaded with clunky exposition, unnatural dialogue, and patchy character development, making it feel more like a first draft than a finished product. Scenes drag as characters explain things that should have been shown, and the emotional beats never quite land because the relationships feel underdeveloped. Even the action sequences, which should be the film's saving grace, don't flow naturally within the story - they feel awkwardly inserted rather than building organically from the narrative.

It's the kind of film that teeters on the edge of being one of the worst comic book movies ever made, right alongside Catwoman, yet it also has the potential to become a cult camp classic. The unintentional humour, stilted performances, and baffling creative choices make it oddly fascinating in a so-bad-it's-good way. Whether it ends up as a punchline or a guilty pleasure, Madame Web is a film that will be remembered?but probably not for the reasons its creators intended.

[Nosferatu@Cult Labs]

As I knew nothing about the life of Enzo Ferrari and the origins of his racing company and associated brand of luxury sports cars, and enjoy motor racing films, particularly Le Mans, Grand Prix, and Speed Racer, the trailer for Ferrari enticed me to watch it at the cinema, something I now regret.

Michael Mann's Ferrari is a visually stunning and impeccably crafted biopic that brings the world of 1950s motorsport to life with breathtaking authenticity. The production design and costumes immerse you in the era, from the sleek, stylish cars to the finely tailored suits that reflect both the glamour and grit of Enzo Ferrari?s world.

As you would expect from a Michael Mann film, it's visually impressive from the design to the photography. The cinematography captures the intensity of his personal and professional struggles with striking compositions and a rich, moody colour palette that enhances the film's dramatic weight. At the centre of it all, Adam Driver delivers a commanding performance as Ferrari himself, embodying the legendary figure with quiet intensity and emotional depth.

Beyond its compelling drama about the two elements - personal and business - of Enzo Ferrari's life, Ferrari truly comes alive in its thrilling race sequences, which are executed with pulse-pounding precision. The sound design and cinematography work in tandem to create an exhilarating sense of speed and danger, making every moment on the track feel visceral and immersive, one of those films where watching it with high-quality headphones providing Dolby Atmos sound really helped keep me engaged.

Director Michael Mann balances these high-octane scenes with a nuanced exploration of Ferrari's complex life, resulting in a film that is both emotionally engaging and technically masterful. It's a riveting, stylish, and expertly made piece of cinema that lingers long after the credits roll.

Almost the entire third act focuses on the Mille Miglia, an endurance race of, as the name suggests, 1000 miles on Italy's public roads over the course of a couple of days. At this juncture, Ferrari is almost a ruin and is banking on (pun intended) a good showing from at least one of the five cars he has entered, into boosting sales from the commercial branch of his company. What follows is occasionally humorous, once shocking, and utterly compelling. This section of the film is a tour de force piece of filmmaking by a director at the top of his game.

Unless I found a cheapish 4K Ultra HD release in a sale, I don't think I would have watched it if I hadn't access to someone's NOW TV account while I was in hospital (a previous patient had left the iPad logged into their account), so I took the opportunity to watch a film i wish I had seen at the cinema; it's now on a growing list of ones to buy and watch at home on a 55" OLED TV with Dolby Atmos.

[Mojo]

A QUIET PLACE IN THE COUNTRY ( 1968 )
A tortured artist and his partner and agent ( Franco Nero and Vanessa Redgrave respectively ) move to a large, isolated country villa. Once there, Nero?s nightmares continue, including his belief that the ghost of a young murdered Countess is plaguing his life.
This is a strange, quite extreme ( for the era ) movie, that bombards you with lots of ?is it real or not? scenarios. Bizarre, compelling and very much one of those ? only could have been made in the late Sixties ? films.

GOT IT MADE ( 1974 )
A well to do young woman ( Lalla Ward ) starts getting the wedding jitters in this rarely seen UK drama.
Very hard to find, the film finally ( and unexpectedly! ) showed up recently on Together TV, in a pretty ropey ( but watchable ) print. And…its not very good.
It?s all a bit disjointed, events seem to go nowhere and the whole thing is a bit coy for the era, apart from a blink and you?ll miss it shot from Ms Ward. Plus, a few laughably clunky nude inserts from people who are quite clearly not the actors involved - all filmed in shadows, with hands over faces etc.
Still, if you are a fan of Ms Ward ( who is pretty much in every scene ) you?ll probably love it anyway!

[Nordicdusk]

lethal-weapon-2.jpg

Riggs and Murtaugh are back this time the South African are in town and up to no good but they are protected by international immunity. Their first mistake was thinking that Riggs and Murtaugh give a shit about the rules and when things take a more serious turn after Murtaugh's family get dragging into the situation now he is pissed and Riggs is on the edge of a mental rampage.

More good times in this sequel with the added annoyance of Joe Pesci as Leo Getts he is relentless and never shuts the hell up but his intentions are pure . We get the iconic scene when Murtaugh is trapped on the John with the bomb underneath that is still funny to this day especially when he comments why didn't they put the bomb in his wife's oven and Riggs replies with think of all the suffering that could been ended . Great car chases explosions humour and action just slightly tainted by the appearance of Rika Van Den Haas I felt the film got a little derailed especially the love scene that seems to go on for days they really spent too long on that.

Lethal Weapon films are always a blast.

[iank]

The Fantastic Four. The silly but fun 2005 movie, not seen it in 20 years. Entertaining, bit too long and CGIey at the end, but fun enough. Do think the cast is better than the new one...

[Demdike@Cult Labs]

Dracula A.D. 1972 (1972)

Alan Gibson's film brings the famed vampire and arch nemesis Van Helsing kicking and screaming into contemporary London following what is a pretty cool new demise for the Count after the frankly rubbish one conceived at the end of Scars of Dracula.

Featuring bloody black masses and groovy sounds this is a product of it's time but it does feature the best showdown between Christopher Lee's Dracula and Peter Cushing's Van Helsing in a frantic finale.

I do love how Van Helsing, the eminent expert on all things Dracula and the Occult needs to do a line diagram to figure out that Alucard is Dracula spelled back to front.

A film i've watched dozens of times across the years, in fact i now think it's my third favourite of Hammer's Dracula films, edging ahead of Dracula Prince of Darkness. It's just so watchable.

[Nosferatu@Cult Labs]

Originally Posted by Demdike@Cult Labs

Dracula A.D. 1972 (1972)


I do love how Van Helsing, the eminent expert on all things Dracula and the Occult needs to do a line diagram to figure out that Alucard is Dracula spelled back to front.

That always makes me chuckle as well - seeing an esteemed scientist and academic nearly stumped by a simple word puzzle, like Stephen Hawking needing some help on a basic sudoku.

A film i've watched dozens of times across the years, in fact i now think it's my third favourite of Hammer's Dracula films, edging ahead of Dracula Prince of Darkness. It's just so watchable.

Although it isn't one of the best of the Hammer Dracula films, I agree that it is very watchable and a great deal of fun; a film that you could watch at any time of day and at any point in the calendar.