Last movie watched...

[radiator]

The chase movie, cat and mouse stuff in No Country works great. It could have been a really tight little 90 minute thriller. Just a shame they felt the need to bloat in with so many longwinded nothing scenes, sideplots that go absolutely nowhere and a two fingers to the audience ending. I guess these are the things that distinguish it as 'mature' and 'challenging', rather than, you know, giving the viewer some kind of payoff or resolution for the two hours they just invested.

It's funny how the critical/awards community go bananas about a straight up, lo fi Terminator type slasher B-movie, so long as it is dressed up in highbrow clothing, has 'serious' actors in it and there's a taciturn, world-weary old codger character on hand, whose sole purpose in the film is to deliver monologues and ruminate on events in a portentous way.

[Pegasus P Artichoke]

Big Trouble In Little China is another hit from the Carpenter/Russell team

They even duet on the end credits song

[Frank]

longwinded nothing scenes, sideplots that go absolutely nowhere and a two fingers to the audience ending. I guess these are the things that distinguish (No Country For Old Men) as 'mature' and 'challenging', rather than, you know, giving the viewer some kind of payoff or resolution for the two hours they just invested.

As you point out, it's a lot like The Terminator - and we both love The Terminator! I moan that genre films I like don't get critical respect - can't we just be happy a genre film based on Hallowe'en's dynamic of building tension that's released through sudden, violent action was up for Oscars?

Most of the problems you had with the film seem to be because of what other people's perceptions led you to expect it to be. Your perception is that critically lauded films force a grand message on the viewer, but No Country For Old Men lets the audience make up their own minds.

The film lays out its stall from the start; Tommy Lee Jones's opening monologue describes a meaningless act of violence he doesn't understand. A focal character who fears looking too deeply into what's happening would be the end of his own story frees the viewer to enjoy the film on their own terms.

Think of TLJ's character as Sam Elliot's cowboy from The Big Lebowski - the comic relief who bookends the film, shrugging and admitting he doesn't know what any of the preceding events mean. If that's a bit glib, try him as an analogue of the Coen's other rural cop who can't fathom the point of human evil*:







* The corrupting power of money to negate characters' essential humanity is a theme which runs through Llewyn Davis, Barton Fink, Blood Simple, and most of the Coens' films, serious or comic

[Spikes]

Ive heard a few folks react negatively to that particular Coen Brothers film, but for me No Country for Old Men is just perfection. An absolute brilliant piece of cinema.

[radiator]

Most of the problems you had with the film seem to be because of what other people's perceptions led you to expect it to be. Your perception is that critically lauded films force a grand message on the viewer, but No Country For Old Men lets the audience make up their own minds.

Not really, I didn't really know much about Country except for who was in it.

The film lays out its stall from the start; Tommy Lee Jones's opening monologue describes a meaningless act of violence he doesn't understand

I get all that - I just thought it made for a totally underwhelming narrative. I'm not saying I want a conventional 'good guys win' ending - far from it. But when I sit down to watch a two hour film I want something, not for it to just shrug and give up, for example [spoiler]killing the main character (who we've been following for most of the film) offscreen[/spoiler]. I get the point it was making, but I still can't see it as anything other than a giant 'fuck you' to the audience. Literally anyone could come up with an ending like that. It's not big or clever. Likewise going to the trouble of [spoiler]setting up another lead character in the second act only to kill him offhand, pretty much rendering all of his scenes and actions pointless and redundant[/spoiler].

I totally saw the parallels between Country and Fargo and Marge Gunderson/Tommy Lee Jone's Sheriff and their resigned conclusions, but the key difference for me was that Fargo was a far, far more accomplished film. It had heart and characters I cared about. Most importantly, it didn't waste my time.

can't we just be happy a genre film based on Hallowe'en's dynamic of building tension that's released through sudden, violent action was up for Oscars?

What irks me is the hypocrisy, and this snobbish distinction between 'movies' (lowbrow trash) and 'films' (art).  A good film is a good film. Imho people are also too quick to praise something as profound or artistic just because its deliberately obtuse or open to interpretation.

[Ghastly McNasty]

It's been comedy season in the McNasty house.

Vacation A sequel/remake of the National Lampoon's movie - a description which should send you running to the hills - but is in fact brilliant. Very dark humour, crude, offensive. Worth a watch as long as you can stomach plenty of paedo jokes.

It's a Disaster A considerably more mature comedy about a group of friends who get stuck in a house during an apocalyptic type event. It's This is the End for adults. Great script and worth a watch.

Get Hard Will Ferrell & Kevin Hart star in a Will Ferrell movie that pretty much does everything you need it do. Funny and worth a watch.

The Wedding Ringer Kevin Hart again. Has a hint of The Hangover to it. Thumbs up.

[Theblazeuk]

The Martian - Not as good as the book! But if I hadn't been able to make that comparison it would have been unreserved love I am sure. Not anything like as tense as Gravity and never quite captures the loneliness of being on Mars, but never drags despite being over 2 hours long. Easily Ridley Scott's best movie for a decade or more.

Sean Bean is a little out of place though and I love me a bit of Sharpe.

[von Boom]

The Martian - Not as good as the book! But if I hadn't been able to make that comparison it would have been unreserved love I am sure. Not anything like as tense as Gravity and never quite captures the loneliness of being on Mars, but never drags despite being over 2 hours long. Easily Ridley Scott's best movie for a decade or more.

Sean Bean is a little out of place though and I love me a bit of Sharpe.

I felt the same way. If I hadn't read the book I would have enjoyed it even more.

The Arrival - Charlie Sheen is a radio astronomer that discovers 42 seconds of alien communication, but no one wants to know. Conspiracies abound and Ron Silver is suitably villainous.

Alien Nation - Alien slaves arrive in the US and are given equality. Racist (alienist?) cop James Caan is teamed with alien detective Mandy Patinkin to solve a murder. A great film really.

The Rocketeer - Rocket pack. Check. Nazi spies. Check. Pulp fiction action. Check. I can't be objective about this film.

[TordelBack]

...teamed with alien detective Mandy Patinkin...

How did I not realise this. Going to have to have a rewatch!

[Buttonman]

British bad slags, gangster revenge thriller We Still Kill the Old Way with Ian 'The Saint' Ogilvy.

[ThryllSeekyr]

...teamed with alien detective Mandy Patinkin...

How did I not realise this. Going to have to have a rewatch!

Mandy Patinkin the Spaniard

You Killed My father....Prepare to die

[TordelBack]

World War Z. Wow that's some nonsense right there. Despite some visually impressive sequences and a strong cast, the lack of any consistency in the threat itself (even how the zombies look is different scene to scene), the relentless sequence of improbable coincidences, and even-more-than-usual gross stupidity of supposedly smart and experienced characters just drag it down into frustration for me. I quite admire the attempt to do a gore-free action adventure take on the zombie apocalypse, but the result just isn't worth the effort. I did enjoy imagining Brad's horrified reaction when he wakes up[spoiler] in the Welsh WHO (geddit) facility[/spoiler] and sees Capaldi standing over him: 'F**k no, I've been captured by Malcom Tucker'.

[ThryllSeekyr]

World War Z. Wow that's some nonsense right there. Despite some visually impressive sequences and a strong cast, the lack of any consistency in the threat itself (even how the zombies look is different scene to scene), the relentless sequence of improbable coincidences, and even-more-than-usual gross stupidity of supposedly smart and experienced characters just drag it down into frustration for me. I quite admire the attempt to do a gore-free action adventure take on the zombie apocalypse, but the result just isn't worth the effort. I did enjoy imagining Brad's horrified reaction when he wakes up[spoiler] in the Welsh WHO (geddit) facility[/spoiler] and sees Capaldi standing over him: 'F**k no, I've been captured by Malcom Tucker'.

This was one of those films I really wanted to see this in the theatres as I was impressed by the trailer for it and then disappointed after finally seeing this on the Box-Office channel. I didn't even bother watching this properly. I do recall asking on this very forum wether to see this film or Pacific Rim or another big-Sci-fi film showing at around about the same time and not seeing ether of these until their secondary media release.

I remember buying the Pacific Rim DvD on the very same day I got my Go Master-Card and my brand new computer was ordered late 2013.

Anyway, I though this film was very uninspiring and it barely held my attention for long.

Not sure what TB means by Dr Who reference, but I did look up Malcom Tucker and wondered if Peter Capaldi is any funnier in this political satire (Not known to me!) than he's tries to be in Dr Who when he attempts to mimic the comical charm of some of the better and better known Doctors.

Sorry, to be mean...but, (As I did have high hopes for him based on the hyped and advertisement!)  he seemed like he decided to adlib in his debut episode and wasn't all that prepared. Since that episode , I haven't bother tracking the show enough to stay tuned each week, but did notice some improvement wen he encounters badly dressed Robin Hood. I think more suited to serious stuff that I might find boring, but that 's just my opinion.

As for the Zombie Apocalypse...I like to see this done in Game of Thrones. or have they already? I do remember the episode where young Stark or Liennister fellow gets stabbed to death by his own. I was wondering if they should have some powerful Liche villain creating the undead or maybe there is....the White-Walkers. I was thinking of something more powerful and a lot smarter, something that  know to stay out of the close quarter combat.     

[Keef Monkey]

Most of the problems you had with the film seem to be because of what other people's perceptions led you to expect it to be. Your perception is that critically lauded films force a grand message on the viewer, but No Country For Old Men lets the audience make up their own minds.

Not really, I didn't really know much about Country except for who was in it.

The film lays out its stall from the start; Tommy Lee Jones's opening monologue describes a meaningless act of violence he doesn't understand

I get all that - I just thought it made for a totally underwhelming narrative. I'm not saying I want a conventional 'good guys win' ending - far from it. But when I sit down to watch a two hour film I want something, not for it to just shrug and give up, for example [spoiler]killing the main character (who we've been following for most of the film) offscreen[/spoiler]. I get the point it was making, but I still can't see it as anything other than a giant 'fuck you' to the audience. Literally anyone could come up with an ending like that. It's not big or clever. Likewise going to the trouble of [spoiler]setting up another lead character in the second act only to kill him offhand, pretty much rendering all of his scenes and actions pointless and redundant[/spoiler].

I totally saw the parallels between Country and Fargo and Marge Gunderson/Tommy Lee Jone's Sheriff and their resigned conclusions, but the key difference for me was that Fargo was a far, far more accomplished film. It had heart and characters I cared about. Most importantly, it didn't waste my time.

can't we just be happy a genre film based on Hallowe'en's dynamic of building tension that's released through sudden, violent action was up for Oscars?

What irks me is the hypocrisy, and this snobbish distinction between 'movies' (lowbrow trash) and 'films' (art).  A good film is a good film. Imho people are also too quick to praise something as profound or artistic just because its deliberately obtuse or open to interpretation.

I like Coen brothers films (and have outright loved some of them) but something I always sense in their writing style is that feeling that they're just making it up as they go along. I never feel like they've had a structure or arc in mind when they write, and if they do they must lose interest in it as they go. It means their stuff can go off on some entertaining tangents, but also means they have a tendency to fizzle out or go down blind alleys in my opinion. Still enjoy a lot of them though.

And I'm with you on the snobbery thing, there's a real double standard when it comes to film criticism.

[Goaty]

Finally watch What We Do In Shadows on Netflix last night.

Bloody loved it!! So funny! Great cast! Loved Petyr!

Good luck to Taika Waititi (Viago the vampire) the director for next film Thor 3!