What Emmanuelle Movie Did You Just Watch?

[B_Metal]

Started Les Miz. Stopped Les Miz.

[Abraham Smashington]

Started Les Miz. Stopped Les Miz.

yessss

[Martin]

Dear Zachary- JESUS.

That's an understatement.

Started Les Miz. Stopped Les Miz.

In of the deed. For taking the appropriate course of action, you sir have renewed your Man Card for the next year.

[Abraham Smashington]

Scream 4. Just needed something on in the background while I worked on some stuff. Man, what a missed opportunity. Havent' seen it since the theater and I didn't hate it as much now as I did then, but it's still not good.

At least we got gay Randall in it.

[Captain Russ]

Bearing witness to such ineptitude and seeing how hard the cast tries to transcendentally become sentient hams is wonderful. Emma Roberts deserves to be acknowledged for leading the charge in this regard. A masterclass in floundering.

[Captain Russ]

It was body horror day here at the McMansion on the hill.

First up, The Crone Zone's own The Brood. Even in a film about sexless moppets murdering people, Ollie Reed's performance as Dr. Raglan is the highlight. Much as Don Pleasance's Loomis elevated the material in Halloween, Reed's dynamic with the characters, especially as he interviews his newest patient Nola (hell all of his therapy sessions were a hoot to behold), is the most entertaining aspect of the film. Samantha Eggar was dynamite as Nola.

Next was Excision. Annalynne Mccord uglies it up and does some pretty solid work as Pauline, a disturbed teen with delusions of becoming a surgeon (most of which are elaborate fantasies she conjures and seems to get off on operating on herself as well as others in them). And of course, it all ends in tragedy. The supporting cast is pretty stellar, with bit parts played by John Waters, Malcolm McDowell, Marlee Fucking Matlin, and Mayor of Crazytown's own Ray Wise as the principal oft Pauline's school. Traci Lords turns in a remarkable performance as Pauline's asshat mom. A far cry from her hangin' and bangin' days and her techno foray, she has the disposition of a war criminal.

[Timothy225]

Resident Evil: Retribution. It had Milla Jovovich and Michele Rodriguez in it.

That's all I got, really. Movie was such a fucking mess and filled with gaps in logic (if Umbrella has all these clones of Alice, why the fuck do they even need to capture her?) I couldn't begin to tell you what was going on.

[Abraham Smashington]

haha. The best part of that movie is Kevin Durand as Barry.

[Abraham Smashington]

otherwise it's more confusing than a fucking Suda 51 game.

[Ben Thomas]

Scream 4 is dogshit, wholly RUINED by Emma Roberts.

Les Mis....?

A damn fine film. I normally hate 'worthy', period shit. Let alone a musical I don't know the songs to. And long? It feels every minute of its 150.

But it's exceedingly well put together. Jackman carries, Hathaway excels, I really liked Crowe as Javert, Redmayne made me pay attention and delivered in the most emotional (for me) scenes, the girl that played Eponine was a revelation and the design and scale was outstanding.

I'll defend that film to the hilt - Tom Hooper's no Stephen Daldry. Hooper's the real deal.

[gravedigger]

It was body horror day here at the McMansion on the hill.

How is that highway view working out?

[Martin]

End of Watch

I liked it a lot. Way more than expected. Probably one of the best handheld cam movie along Chronicle.

[Ben Thomas]

Church.

[Matt]

Les Mis....?

A damn fine film. I normally hate 'worthy', period shit. Let alone a musical I don't know the songs to. And long? It feels every minute of its 150.

But it's exceedingly well put together. Jackman carries, Hathaway excels, I really liked Crowe as Javert, Redmayne made me pay attention and delivered in the most emotional (for me) scenes, the girl that played Eponine was a revelation and the design and scale was outstanding.

I'll defend that film to the hilt - Tom Hooper's no Stephen Daldry. Hooper's the real deal.

Yeah, pretty much this. I liked it too.

[Captain Russ]

Bloody Sunday.

The feel good movie of 2001.

Nesbitt was fantastic as always. Greengrass' handheld aesthetic (which many have harped on in recent years in his more fictional forays) gives the picture an added strength in its simulated authenticity (much in the same way it was utilized in United 93).

The only let down comes in the decision to stamp many scenes with a fade to black. I felt it took some of the immediacy out of the film.