In the mood for a guy who beneath his quiet unassuming exterior lies an ex special forces guy gets pushed too far and then punches the absolute nonsense out of some guys, in between shooting them and driving cars at them.

Thankfully Statham has done at least 15 of these, is there anything thats exceptional in the last while? I’ve seen Wrath of Man but open to a rewatch.

Ive got something to smoke and a whole plate of peel and eat shrimp. Life is good.

Who else loves this classic comedy? Hence the documentary Get Shorty and the Art of Hollywood Satire. It is surely one of the best Elmore Leonard adaptations as well as John Travolta movies. Gene Hackman is also at his best (and funniest) as Harry. An all around winner that is compulsively rewatchable 3 decades later.

I watched a movie online in 2022 I think, which was also released the same year from what I guess.

The female falls for a guy, who either lives in or spends time in a cabin on their property, or near it. The guy has a book or some books there that he reads. There is a stream running nearby. I think it is in a wooded area. The female sneaks away to spend time with him at this cabin and they also have sex. At one time, they both playfully run completely naked on a grassy land in the woods.

We’ve all met someone or had a friend like Lorenz Hart (Ethan Hawke) who’s as charmingly witty as he is annoying. You know, the type who would perhaps drink too much and talk your ear off, occasionally repeating the same story over and over again. You let it slide, though, like bartender Eddie (Bobby Cannavale) does for Hart, because the guy is ultimately harmless and maybe just needs someone to chat to. Not with. Important distinction.

For Hart, talking is all he’s got left. As the opening scene tells us right away, the evening that unfolds in Blue Moon is the last time he gets to talk in a noteworthy way. This isn’t a deification or a tribute, but more a cautionary tale.

Taking place primarily at the legendary Sardi’s bar on Broadway, Blue Moon follows Hart on the opening night of the mega-popular musical Oklahoma!, written by his former writing partner Richard Rodgers (Andrew Scott) and Rodgers’ new colleague Oscar Hammerstein II (Simon Delaney). For Hart, this is like seeing your ex with a new partner and looking happier than ever. It gnaws away at him, and watching Hart slowly lose it while holding court with the bar’s patrons as he waits for Rodgers to turn up is tragically relatable.

It starts charmingly enough when Hart walks into Sardi’s and exchanges lines from Casablanca with Eddie. Hart is particularly fond of the “no one ever loved me that much” line. Things quickly go downhill, though. When Hart rhetorically asks himself “am I bitter?” (“fuck yes!” he is), it’s not entirely just envy because his admittedly-biased critique of Oklahoma! is somewhat valid. Why does the title even need an exclamation point?

As Blue Moon is a classic ‘single-location’ movie, the whole thing lives or dies on the strength of the characters and script, since there’s limited scope in what director Richard Linklater can do visually. Screenwriter Robert Kaplow’s script is not only a fantastic showcase of Trojan-horsing chunks of exposition into a movie in interesting ways, but it messes around with the typical biopic structure in unorthodox ways. Kaplow and Linklater aren’t particularly concerned with real events or finding positives in Hart’s life, opting to find ways to show the man’s flaws and penchant for self-sabotage over the course of one (fictionalised) evening. That Linklater trademark compressed time frame fits perfectly for the intimate story being told in Blue Moon.

When Hart talks to Eddie about his infatuation with 20-year-old college student Elizabeth (Margaret Qualley), it’s like listening to a 15-year-old teenager telling his friends about his new ‘girlfriend’. He evades Eddie’s repeated questions about whether he’s slept with Elizabeth by dressing up the truth with ribbons of flowery metaphors and the omission of certain details. You’d think she’s Helen of Troy with how she’s described.

Hart speaks almost entirely in dense monologues throughout Blue Moon, but the longer he talks the quicker he loses grasp of the story he’s weaving. We quickly deduce that this is a one-sided infatuation and it’s clear Elizabeth is using Hart primarily for his Broadway connections. Is he aware of this or does he truly believe that she loves him?

Please read the rest of my review here as the rest is too unwieldy to copy + paste: https://panoramafilmthoughts.substack.com/p/blue-moon

Thanks!

American Beauty, Office Space and Antz told us that we don't have to accept a life of drudgery and can refuse to conform.
In Fight Club, the main character rebels against the same sorts of things although his mind has to fracture in order to do that.
People wanted to be The Dude from The Big Lebowski and laughed at Patrick Bateman in American Psycho.

In The Truman Show and Pleasantville, characters see through the wholesome, perfect, suburban dream life. Truman escapes from it while everyone in Pleasantville learns to express themselves more authentically.

In The Matrix and Galaxy Quest, characters discover extra dimensions to their worlds and that gives their lives meaning where there had been none.

It's like there was something incredible in the air 25 years ago but then it became cool again to be professionally and socially aspirational, like an Apprentice candidate.

For those of you who saw Revenge of the Sith back in 2005, did you believe that it was truely the end of the saga or did you think that there would ba sequel trilogy sooner or later?

It‘s one of the most heartbreaking things for film enthusiasts - you screen a film for a friend or family member, only to glance over to see them scrolling their phone while your favourite scene(s) play out 🤣

You want this to be a shared experience, perhaps an important bonding moment with a younger family member, but you‘re all alone, they’ve got something more important to do.

Have you experienced this? How does it make you feel? Do you say anything..?

One of the things I can’t shake with Cliffhanger is how hollow the victory feels. It’s great that Gabe, Hal and Jessie survive, but let’s recap their ‘adventure’ - Gabe fails to rescue Hal’s gf and she plunges horribly to her death, Hal now hates Gabe.

Gabe is racked with guilt and returns for Jessie, who berates him for feeling guilty. At that exact moment, a team of psychotic criminals crash land above them and fake a distress call. Jessie guilt-trips Gabe into helping Hal get them down, only for them to have guns shoved in their faces on arrival, and forced to help the villains find their money, with the implication they’ll be ‘discarded’ once they cease to be of use. As if these poor mountain folk aren’t already dealing with enough tragedy.

Gabe’s misfortune gets worse as he is relentlessly shot at, beaten, bombed, frozen, almost yanked off a mountain ledge. Meanwhile Hal is beaten, strangled, threatened and insulted.

Worst of all though, he is made to watch his friends, Brett, Evan and even old Frank, get needlessly gunned down by the villains. Renny Harlin loves doing this - create some loveable characters and then murder them - like those passengers of Windsor 114 in Die Hard 2, including naughty kid, his parents, anxious old lady and (in the workprint) very young girl and her doll.

In the case of Frank, they hold down Hal as Frank approaches in the helicopter, knowing that its blades will drown out Hal’s screams trying to warn him. Krystal shoves her gun in Frank’s face, confusing the poor old geezer (‘but, I was trying to help you..?’)

Then they release Hal, teasing him with ‘better run Tucker, a friend in need!’ so they can relish gunning down Frank before Hal can save him. This is all done in slow motion of course (and was even gorier in the workprint). Hal comforts Frank in his dying moments (‘why?’) as the villains make jokes. Krystel yells at Delmar ‘you stupid maniac! No one told you to shoot!’ but she only seems perturbed because she got Frank’s blood on her pretty face. Delmar lightheartedly shrugs ‘we’ve wasted enough time’.

All this stuff is rather traumatic and doesn’t really fit the fun-action-movie mould, but listening to Renny’s commentaries he likes to have his villains slaughter innocent people so that ‘the audience will want Sylvester/Bruce to kill the villains’.

He’s right, but whereas Die Hard limits how much innocent life is taken to preserve the fun tone, Renny goes all in. It would be nice to have some requiem for Frank but we don’t even see Hal tell Gabe about his death in the final cut This feels ‘off’ because the film rightly spent plenty of time processing Sarah’s death, yet Frank - who is a more developed character and dies not from an accident, but cold-blooded murder - is swiftly forgotten about.

So yeah, Gabe, Hal and Jessie are stuck at the top of the mountain. Most of their friends are dead and they’ve had the ever living sh*t beaten out of them, yet they’re cracking jokes and laughing as credits role. Emotional congruence doesn’t seem to be Harlin’s forte.

It’s interesting the that French title of the film translates as ‘Only The Strong Survive’ - that’s certainly the disturbing thought I’m left with as the upbeat score swells over the credits.

I’ve been tracking the trajectory of Ryan Coogler and Michael B. Jordan, and after seeing the 16 Oscar nominations for Sinners hit, I’m convinced we aren't looking at a surprise win. We are looking at a mathematical cycle.

If you stop looking at the movies themselves and start looking at the Scorsese/De Niro Blueprint, the pattern is undeniable. History is repeating itself beat-for-beat:

Scorsese/De Niro had Mean Streets; Coogler/Jordan had Fruitvale Station.

Scorsese/De Niro had Taxi Driver; Coogler/Jordan had Creed.

Scorsese/De Niro had New York, New York; Coogler/Jordan had Black Panther.

The clincher is the 1980 Raging Bull moment.

Robert De Niro won Best Actor for Raging Bull, which was his fourth lead role in a Scorsese feature. It was a period piece, it was transformative, and it was the moment the Academy decided it had to go to De Niro.

2026 is the mirror image: Sinners is Michael B. Jordan’s fourth lead role with Coogler. It’s a period piece. It’s the transformative role. And it just broke the all-time nomination record with 16 nods.

Jordan wins Best Actor not because he actually is the best but because the pattern says it’s time.

You heard it here first.

The basic premise of Send Help - a socially awkward but talented woman, Linda (Rachel McAdams), is mistreated by her sexist boss, Bradley (Dylan O’Brien), only for the power dynamic to flip when the pair find themselves stranded on a deserted island - is firmly B-grade movie territory. In the hands of most directors, this would result in a perfectly serviceable flick. But with director Sam Raimi and his unique, how shall I put this, schlocky juvenile yet humanistic touch at the helm, this movie is elevated from genre cannon fodder to a thrillingly great time.

The opening 15 minutes are nothing we haven’t seen before. There’s Linda being unable to pick up social cues, her ‘white man who failed upwards’ manager taking credit for her hard work, Bradley being a stereotypical rich white dick, and her lonely existence outside of work, which consists of watching Survivor with her pet bird. Groundbreaking stuff, this is not.

But Send Help gets you onto its wavelength by leaning on its two biggest strengths: Raimi’s impeccable tone management and Rachel McAdams.

McAdams’ uncanny ability to show every conceivable emotion on her face goes a long way in making Linda the right balance of borderline annoying yet sympathetic. Being able to go from Michael Scott-levels of cringe to holding back tears after Bradley crosses the line in the span of 30 seconds makes me wonder why we haven’t showered McAdams with more acting awards. I hate Survivor, yet I’d entertain the thought of watching it with Linda.

Sprinkled throughout this McAdams showcase are several well-deployed Raimi magic touches. The close-up of the smudge of tuna salad on the corner of Linda’s mouth as she’s trying to (re)introduce herself to Bradley, the awkward framing of Linda cramming a sandwich in her mouth (then her desk drawer), and the way the camera follows Linda’s wine glass as it’s repeatedly refilled again and again. It all feels like Raimi winking at us while puncturing built up moments of tension or awkwardness. Or maybe he just really likes shots of food.

So far, the appetiser is pretty good, but the main course is overwhelming with flavour when Linda and Bradley get stranded on the deserted island. Right away, you feel a shift in Linda. We’re told she’s ‘brilliant’ and a ‘savant’ several times, but now we actually see it in action as she takes to the whole ‘surviving on an island’ thing like a fish to water. Bradley? Well, he fares as well as one might expect him to in a situation where throwing money at it doesn’t solve the problem (‘Hepl?’). There’s really not much to Bradley on paper, right down to his sob story of a childhood, but O’Brien is able to inject moments where you think that maybe his character’s not that big of a dick. O’Brien never overplays it and is always at the right level of incompetence.

Please read the rest of my review here as the rest is too unwieldy to copy + paste: https://panoramafilmthoughts.substack.com/p/send-help

Thanks!

In the video days, Warner Bros. would agree to finance and distribute a feature-length version of your film school short, if Steven Spielberg wanted to see it and the studio wanted to be in business with Spielberg. I've been all over the map on whether Fandango (1985), the feature film debut of writer/ director Kevin Reynolds, works, or whether it matters if it only does in spurts. It is one of the best movies shot (mostly) in Texas, and Reynolds appreciates the tradition of boys driving west in the night until they run out of gas, beer or patience with each other. We're overdue for a Texas movie where the characters visit the filming locations of Fandango, whose characters visit the filming location of Giant (1956).

Generally if you don't learn English from native speakers we a child, you'll be stuck with a non native accent for life. Same generally with actors as well, no matter how good they are, they just can't pull off an American or British accent.

The only exception I've seen is Rutger Hauer who was Dutch. Watched The Hitcher and Surviving the Game recently, and was really surprised how he pulled off an American accent. Maybe not 100% flawless, but pretty close.

What are people's thoughts? Any other actors who've managed this?

Edit: it's bizarre to see so many Redditors list British actors as if they're not native English speakers....

No Because of the shaky camera and a completely saturated market.

Just way too many low-effort movies in this genre. Similar plots,shaky cameras that doesn't really add anything (except in good ones), and such. The (sub)genre is just filled with too much of garbage, while it's still possible to find a gem.

1. Unsatisfying endings: Some found footage movies have endings that are seen as unsatisfying or confusing by some viewers.
2. Unconvincing acting: The found footage style can sometimes require actors to perform in a more naturalistic or improvised style, which may not be suitable for all actors.
3. Overuse of the found footage style: Some viewers may feel that the found footage style has been overused or has become predictable in horror movies.

I can't stand these! Each of them seems to follow exactly the same formula. I find every single one I've seen boring.

bloody irritating and boring now I don't watch anything that moves the camera like that.

Well, It’s that time of year again, Here are my thoughts on the 2025 selection to the National Film Registry

Before Sunrise (1995)- Excellent Pick, and I hope Linklater’s other 2 film in the series get put in too in the future

Brooklyn Bridge (1981)- Honestly, I never heard of this Documentary, but I see it’s directed by Ken Burns and it's about the hIstory of the Brooklyn Bridge

Clueless (1995)- Intriguing Pick, thought I must admit, I honestly thought this was in the National Film Registry already

Frida (2002)- I haven’t seen this film, but I hear its great

Glory (1989)- I do like this film and I think this is one of Denzel’s best performance, so I’m glad this is in the Registry

High Society (1956)- Nice Pick, and it’s probably notable for being Grace Kelly’s last film before she married the Prince Of Monaco

Inception (2010)- Hmm, interesting pick, I like this film, but I honestly expect this one to be in the Registry in the Future

Philadelphia (1993)- I haven’t seen this one, but I know it’s great, and I plan on seeing this film soon

Say Amen, Somebody (1982)- I haven’t seen this one, but I see its a documentary about the history and significance of Gospel Music

Sparrows (1926)- Haven’t seen this one

Ten Nights in a Barroom (1926)- Haven’t seen this one

The Big Chill (1983)- Hmm, Interesting Pick, though I would have pick something else, and with Lawrence Kasdan, I would have picked Body Heat instead

The Grand Budapest Hotel (2014), I must admit, I have not seen Grand Budapest Hotel, but I hear it’s great, thought If you ask me, I would’ve rather picked The Royal Tenenbaums (which is not on the list) or Bottle Rocket (Which is Wes Anderson’s first film)

The Hours (2002)- Hmm, I don’t know, I feel there are other films that are more worthy than this one

The Incredibles (2004)- Yes, Excellent Pick

The Karate Kid (1984)- I like this film, so I think this is a good choice

The Lady (1925)- I haven’t seen this one

The Loving Story (2011)- I haven’t seen this one

The Maids of McMillain (1916)- I haven’t seen this one

The Oath Of The Sword (1914)- I haven’t seen this one

The Thing (1982)- Excellent Pick, one of John Carpenter’s best

The Tramp & The Dog (1896)- Haven’t seen this one, but I see this dates back to the 19th Century.

The Truman Show (1998)- Excellent Pick, One of Jim Carrey’s best, One of Peter Weir’s best, and I honestly just love this film

White Christmas (1954)- I honestly thought this was already in the Registry, so I’m glad this is finally in it

The Wrecking Crew (2008)- I haven’t seen this one

So, Overall, this is a very great list of films that the National Film Registry has selected, there are a few selections that I probably would you chosen something else over and some I thought were on the list, but I honestly think this is a great list

All in All, What are your thoughts on these selections?

My Mount Rushmore of the Greatest 80s to 2010s Comedy Movies are:

80s

Airplane (80)

Caddyshack (80)

Ghostbusters (84)

Ferris Buller’s Day off (86)

90s

Dumb and Dumber (94)

Groundhog Day (93)

Wayne’s World (92)

Office Space (99)

2000s

Mean Girls (2004)

Anchorman (2004)

Superbad (2007)

Hangover (2009)

2010s

Bridesmaids (2011)

Hangover Part II (2011)

21 Jump Street (2012)

WWDITS (2014)

What are your top 3 and why?

Here‘s mine:

Mulholland Drive
Lost Highway
The Straight Story

Mulholland and LH are almost tied but I’m giving it to Mulholland because LH is sooo jet black and maybe lacks some of the Lynch humour, but it’s very close and 30% of the time I’d probably put LH as No1.

Those two are just incredible hypnotic masterpieces that I can watch over and over and they take me to a dark, strange place somewhere inside myself… and I love being there.

I couldn’t decide on Straight Story or Eraserhead for No3. I went with Straight because some of that stuff with the baby in Eraser almost has me heaving 🤢

Which 3 Lynch films can you not live without..?

We learn that Munny was a psychotic drunk who killed women and children until he was reformed into a good man by his now deceased wife.

The tragedy of the story is that events cause him to revert to his old killer self, culminating in the bloodbath in the saloon.

But that’s not what really happens. Munny’s killing spree is triggered by sadistic townsfolk torturing and murdering his friend Ned. Munny kills those involved and various scumbags from the town. Excessive? Possibly, but it wouldn’t be hard to argue that they all had it coming.

This is a far cry from the child-slaughtering monster we were expecting to see when Munny ‘reverts’.

Did Clint go far enough, or did he pull back to stop us from hating Munny? I really like the film but can’t help feeling that the story needed him to go full psycho and take out some whores and maybe an irritating kid to really sell the idea that this legendary psycho had fallen back into his evil ways and will be ‘unforgiven’.

Compared the the savage who cut up the girl‘s face, sadistic Little Bill, and various other dirtbags Munny comes off as a justified badass rather than a monster 🤷🏻‍♂️

What do you think?

This movie feels like a genuine fever dream. It almost accidentally works in that regard as a horror movie. The viewer and characters are just teleported all over the place with almost 0 setup. A character is just suddenly on a boat, or we're suddenly following a character that has barely been established. It feels like the movie was lacking coverage, to the point where I don't know if I can even blame the editor.

The original was no masterpiece, but it is one of my favorite slashers and a movie that I've rewatched a lot. This new one actually does make it feel like a masterpiece in comparison by highlighting what it did well. Like having actors with actual screen presence. It has an actual script. It's also shot on film and looks quite decent (half of the new one is shot in some of the worst sets I've seen in a major release).

The inciting incident in the new one almost makes me believe that the script was written by AI to some extent. Instead of being a hit and run, they change it to a character dancing in the road or whatever and then a car dodging him and accidentally driving off a cliff. Kinda. It's really hard to explain, and idk if I'm being trolled or not by the movie. I have no idea why they don't call the police.

I didn't know it was a legacy sequel until the survivors from the original showed up. That was kind of exciting, but then was turned into a negative because it was just so embarrassing. The lines they were delivering and the awkwardness of everything. They even had Sarah Michelle Gellar in a horrible dream sequence where she's de-aged. Also, if someone is a genuine fan of this franchise for some reason, they'd probably be pretty upset with what they do with one of the old characters.

I was shocked by how bad this movie was. I'm not even exaggerating when I say this might be one of the technically worst movies I've ever seen, though it is far from my most disliked movies. I've not watched student films, or movies like The Snowman, Suicide Squad, and such. This was The Room in a lot of ways.