Film/moving picture show you most recently watched

[David Kelly 1116]

Withnail & I for the millionth time. "my thumbs have gone weird"

Absolute genius. Most quotable film ever!

[Happy Face 29]

 

I love barringer82

[Jill 0]

The Boy in the Striped Pyjamas, after recording it a few weeks back.

 

Good watch, but expected a little more tbh.

[catmag 336]

The Boy in the Striped Pyjamas, after recording it a few weeks back.

 

Good watch, but expected a little more tbh.

 

The book is better.

[Meenzer 14030]

The book is better.

 

Don't even get me started on the book. The very idea that any German kid of that era - let alone the son of a Nazi officer - wouldn't know what Jews were or what the word "Führer" meant.... grahrhhghrhghghhghhhhh

[Happy Face 29]

Tyrannosaur - Brilliant. Not an easy watch in parts but it should rightfully win awards for the performances if not more. 9/10

 

I thought it was excellent too.

 

Struggled with how overboard it went on the misery though. In the space of a couple of days he kicks his dog to death attacks them kids at the pool table, bricks a post office, get's a beating back for that, his bezzy mate dies, his brand new new mate gets......what she gets...then there's the other dog and his owner and the kid...

 

If it is really based on the estate Considine was raised on I think he condensed 18 years of misery into the week the film follows. If it was a spiral of related problems it might be more believable, but it was just unrelated events happening unrelentingly.

 

That said, it's a testament to the film that I thought it got away with it. Uplifting enough and well played enough for me not to scoff at it as misery porn...like some critics did.

[Happy Face 29]

Argo

The sort of CIA film I like. Where they put in the leg work to outsmart their opponents. Think it's brilliant when these contrasting films come out at the same time with very similar themes. For all it's hype as a low key, non-hollywood style war film, Zero Dark Thirty is the much MORE Hollywood of the two, it whitewashes torture as a means to an end and satisfies the (pro US) audience with a big shoot-out finale where the bad guy gets it in the head. There is no consideration at all of opposition or any issues that might have caused concern about the mission, it's a straight forward celebration - "Bin Laden was responsible for 9/11, here's the story of how we killed him".

 

Argo on the other hand is matter of factly critical of US (and UK) intervention in the area, just by stating what those nations have done in the area during a prologue, it damns them. It gives a voice to Iranian opposition, it has characters on either side question why they're in their position and why they're doing the work they do. There are no caricature good guys or bad guys, just people, who (as in reality) have the best intentions. So there's some cars flying up a runway at the end to give it a crescendo. It in no way changes the story or the truth of the situation.

 

John Pilger suggesting I was much too generous to Argo....

 

What is modern propaganda? For many, it is the lies of a totalitarian state. In the 1970s, I met Leni Riefenstahl and asked her about her epic films that glorified the Nazis. Using revolutionary camera and lighting techniques, she produced a documentary form that mesmerised Germans; her Triumph of the Will cast Hitler’s spell.

 

She told me that the “messages” of her films were dependent not on “orders from above”, but on the “submissive void” of the German public. Did that include the liberal, educated bourgeoisie? “Everyone,” she said.

 

Today, we prefer to believe that there is no submissive void. “Choice” is ubiquitous. Phones are “platforms” that launch every half-thought. There is Google from outer space if you need it. Caressed like rosary beads, the precious devices are borne headsdown, relentlessly monitored and prioritised. Their dominant theme is the self. Me. My needs. Riefenstahl’s submissive void is today’s digital slavery.

 

Edward Said described this wired state in Culture and Imperialism as taking imperialism where navies could never reach. It is the ultimate means of social control because it is voluntary, addictive and shrouded in illusions of personal freedom.

 

Today’s “message” of grotesque inequality, social injustice and war is the propaganda of liberal democracies. By any measure of human behaviour, this is extremism. When Hugo Chávez challenged it, he was abused in bad faith; and his successor will be subverted by the same zealots of the American Enterprise Institute, Harvard’s Kennedy School and the “human rights” organisations that have appropriated American liberalism and underpin its propaganda. The historian Norman Pollack calls this “liberal fascism”. “All is normality on display,” he wrote. “For [Nazi] goose-steppers, substitute the seemingly more innocuous militarisation of the total culture. And for the bombastic leader, we have the reformer manqué, blithely at work [in the White House], planning and executing assassination, smiling all the while.”

 

Whereas a generation ago, dissent and biting satire were allowed in the “mainstream”, today their counterfeits are acceptable and a fake moral zeitgeist rules. “Identity” is all, mutating feminism and declaring class obsolete. Just as collateral damage covers for mass murder, “austerity” has become an acceptable lie. Beneath the veneer of consumerism, a quarter of Greater Manchester is reported to be living in “extreme poverty”.

 

The militarist violence perpetrated against hundreds of thousands of nameless men, women and children by “our” governments is never a crime against humanity. Interviewing Tony Blair ten years on from his criminal invasion of Iraq, the BBC’s Kirsty Wark gifted him a moment he could only dream of. She allowed Blair to agonise over his “difficult decision rather than call him to account for the monumental lies and bloodbath he launched. One is reminded of Albert Speer.

 

Hollywood has returned to its cold war role, led by liberals. Ben Affleck’s Oscar-winning Argo is the first feature film so integrated into the propaganda system that its subliminal warning of Iran’s “threat” is offered as Obama is preparing, yet again, to attack Iran. That Affleck’s “true story” of good-guys-vbad- Muslims is as much a fabrication as Obama’s justification for his war plans is lost in PR-managed plaudits. As the independent critic Andrew O’Hehir points out, Argo is “a propaganda movie in the truest sense, one that claims to be innocent of all ideology”. That is, it debases the art of film-making to reflect an image of the power it serves.

 

The true story is that, for 34 years, the US foreign policy elite have seethed with revenge for the loss of the shah of Iran, their beloved tyrant, and his CIA-designed state of torture. When Iranian students occupied the US embassy in Tehran in 1979, they found a trove of incriminating documents, which revealed that an Israeli spy network was operating inside the US, stealing top scientific and military secrets. Today, the duplicitous Zionist ally – not Iran – is the one and only nuclear threat in the Middle East.

 

In 1977, Carl Bernstein, famed for his Watergate reporting, disclosed that more than 400 journalists and executives of mostly liberal US media organisations had worked for the CIA in the past 25 years. They included journalists from the New York Times, Time and the big TV broadcasters. These days, such a formal nefarious workforce is quite unnecessary. In 2010, the New York Times made no secret of its collusion with the White House in censoring the WikiLeaks war logs. The CIA has an “entertainment industry liaison office” that helps producers and directors remake its image from that of a lawless gang that assassinates, overthrows governments and runs drugs. As Obama’s CIA commits multiple murder by drone, Affleck lauds the “clandestine service . . . that is making sacrifices on behalf of Americans every day . . . I want to thank them very much.” The 2010 Oscar-winner Kathryn Bigelow’s Zero Dark Thirty, a torture-apology, was all but licensed by the Pentagon.

 

The US market share of cinema box-office takings in Britain often reaches 80 per cent, and the small UK share is mainly for US coproductions. Films from Europe and the rest of the world account for a tiny fraction of those we are allowed to see. In my own filmmaking career, I have never known a time when dissenting voices in the visual arts are so few and silent.

 

For all the hand-wringing induced by the Leveson inquiry, the “Murdoch mould” remains intact. Phone-hacking was always a distraction, a misdemeanour compared to the media-wide drumbeat for criminal wars. According to Gallup, 99 per cent of Americans believe Iran is a threat to them, just as the majority believed Iraq was responsible for the 9/11 attacks. “Propaganda always wins,” said Leni Riefenstahl, “if you allow it.”

 

http://www.newstatesman.com/politics/politics/2013/03/new-propaganda-liberal-new-slavery-digital

[Kid Dynamite 5899]

Compliance

 

True story and one of those fact is definitely stranger than fiction stories.

 

Some bloke in America prank called a McDonalds pretending to be a policeman. He accused an employee of theft and had other staff strip search her and do a body cavity search, with a blow job to one if them to top it off!?

[Howmanheyman 26723]

Saw '127 hours' last night. Decent enough film about a lad being trapped by a rock and having to cut his arm off to survive. Based on a true story.

[Gemmill 34307]

Undefeated. Class documentary about a high school American Football team in a poor area of Memphis. Get it watched. On US Netflix if you've got it.

[Rayvin 4963]

Saw '127 hours' last night. Decent enough film about a lad being trapped by a rock and having to cut his arm off to survive. Based on a true story.

 

I was tempted to watch that some time back - wasn't sure how they'd be able to keep a sense of intrigue going with what is essentially a stationery character with no interactions. Are you essentially just watching his mind fall apart to the point where he becomes agreeable to be-handing himself?

[Howmanheyman 26723]

 

 

I was tempted to watch that some time back - wasn't sure how they'd be able to keep a sense of intrigue going with what is essentially a stationery character with no interactions. Are you essentially just watching his mind fall apart to the point where he becomes agreeable to be-handing himself?

Aye, kind of. Like I said, decent enough film, seen better, seen worse.

[Dr Gloom 19770]

Michael Clayton on Netflix. Enjoyable legal thriller 7/10

[Dr Gloom 19770]

Saw '127 hours' last night. Decent enough film about a lad being trapped by a rock and having to cut his arm off to survive. Based on a true story.

 

The big scene that the whole movie builds up to is fucking savage. Well done but not easy viewing. Amazing story

[Monkeys Fist 38655]

 

Aye, kind of. Like I said, decent enough film, seen better, seen worse.

Dry as a nun's Cath

 

Watched The Good Shepherd again tonight.

Good movie but, fuck me, it's depressing.

[SCOREBOARD1 0]

Side effects. Canny 7/10.

[Gejon 2]

Searching for Sugarman - Good film

[Rayvin 4963]

Old Boy... weird, depressing, and more than anything else, Korean.

[Dr Gloom 19770]

Goonies awful, say experts

 

 

 

FILM researchers have discovered that The Goonies is actually dreadful.

 

 

 

 

Shut up you little bastard

 

The 1985 film is a favourite amongst reminiscing thirtysomethings who haven’t watched it since they were 13. But yesterday a Channel 5 broadcast showed that a group of children shouting for 90 minutes is as entertaining as that sounds.

Filmologist Nikki Hollis said: “Halfway through I was hoping the one that looks like Paddy Kenny would just snap the fat kid’s neck like a twig wrapped in bacon and the rest of the shrieking horde would get buried in a rockslide.

“Instead a bunch of brats continued being way too fucking loud in an abandoned Raiders Of The Lost Ark set and falling through things for no discernible reason for another hour.”

Fans hold Goonies-themed evenings, asserting that modern children’s films cannot compete with ‘when that bloke says “Hey you guys” in a mongy voice’, before finding the fattest person in the pub to bully.

Theories why the film is so great differ, with some pointing to its massively offensive racial stereotypes while others say it is the combination of laughing at the physically and mentally disabled and having no plot.

But new research suggests that children are morons that like any old toss put in front of them and grow up into adults who forget how shit the decade they grew up in was.

Hollis added: “Liking The Goonies as an adult is as dignified as seeing how many wanks you can have in a day and crying because you don’t own a BMX.”

 

http://www.thedailymash.co.uk/news/arts-entertainment/goonies-awful-say-experts-2013032563691

[Monkeys Fist 38655]

So Ant, what's your daily record?

[Dr Gloom 19770]

6 degrees of separation -excellent performance from a young will smith. you could tell it's based on a play. dialogue and character-driven with few set changes. 6/10

[Bonamental 0]

Welcome to the punch. Bit boring really. Not worth checking out.

[Renton 17709]

 

 

I was tempted to watch that some time back - wasn't sure how they'd be able to keep a sense of intrigue going with what is essentially a stationery character with no interactions. Are you essentially just watching his mind fall apart to the point where he becomes agreeable to be-handing himself?

 

Imagine the numb wank he could have had if he'd have managed to get his hand free?

[Rayvin 4963]

it'd be a different sort of movie then though wouldn't it?

[Monkeys Fist 38655]

 

 

Imagine the numb wank he could have had if he'd have managed to get his hand free?

Bet you he's fucked his stump.