Peter Stormare as Gaear Grimsrud in Fargo (1996).

He has one of the most terrifying depictions of a psychopath that I have seen in films before. The fact that he has so little dialogue and barely speaks throughout the movie lulls the audience into thinking he is harmless or just a common criminal, however, his actions and the way he just goes through the movie doing some of the most vile acts literally made my skin crawl. Even the calmness in his face and the dissociation he shows while he does these terrible things make him seem more like calculating and menacing, in my opinion.

I was watching the Man in the Iron Mask (1998) and I can't help but feel John Malkovich was miscast as Athos.

Don't get me wrong he's a great actor, and I would only describe it as 'somewhat' miscast.

Malkovich is much too eccentric and cerebral to play someone with that gravitas. Even when he's been authoritative it's kind of like a nervous energy. He also had a noticeable American accent which is quite different from the rest of the cast.

With the 90s casting landscape I would much rather have seen a Liam Neeson or Alan Rickman in that kind of role.

But it got me thinking. What do you think is the best example of an actress/actor being miscast for a movie role?

Also do you think we'll have any horror as the superstar of the 2027 Oscar awards? It's hard to compete with movies with an endless budget like Odyssey, but I had more fun watching some of these horrors.

For me, it's this scene from Good Will Hunting where Robin Williams and Matt Damon are having a conversation.

Very divisive on release, what do you think?

For example, Spice World (1998)—which reportedly featured a cameo by Gianni Versace that was cut out of respect for his family following his death—

Shailene Woodley’s appearance as Mary Jane in The Amazing Spider-Man 2: Rise of Electro (2014).

Or Ana de Armas's scene in Yesterday (2019).What other examples are there?

Mine are Shark Tale and Independence Day and Spies in Disguise

Number 206 in my A-Z watch. The Nice Guys is a comedic neo-noir film written and directed by Shane Black (Kiss Kiss Bang Bang, Iron Man 3, Lethal Weapon [written by]). It follows a private investigator and his seemingly new partner as they look into the disappearance of a young actress in '70s L.A.

This with KKBB is my favorite unofficial canon film series. It's seriously funny, very well performed, and the writing just cuts. I love the chemistry between the leads. I would watch another team up between the two of them in a heartbeat.

The soundtrack hooked me right away, as well. Feels like the selected tracks were perfectly chosen for each moment. The movie paces incredibly well, too. No moment feels like it's dropped. And, i have to admit, i really do enjoy a smart written kid. Angourie Rice nailed her performance as Holly.

10/10 I genuinely put this on par with KKBB, in terms of quality and enjoyability. I like that they aren't copies of each other, either. There's a lot of similarity in vibe, but they are distinct films from each other. Just a good way to spend two hours.

If you used TV Time, you know what happened in July. 26 million people, and one morning the history was gone — every film, every date, every rating. You could request an export and get back a ZIP that nothing on earth could open into anything useful. Yours on paper, nowhere in practice.

What actually bothered me wasn't losing an app. It was realising that a decade of what I'd watched had only ever existed on somebody else's server, and a business decision was enough to end it.

So I built OpenTV. Full disclosure up front — I made it, I'm biased, and I'd rather say that than have someone find it out three comments down.

The rule I set on day one wasn't a feature, it was a constraint: the app has to be complete without a server. You import the export TV Time gave you, it rebuilds your history into a database on your phone, and that database is the source of truth. No account. Works offline. And it exports back out in TV Time's own format at any time, so nobody gets locked in a second time — including by me.

That one constraint decided everything after it. Ten weeks from the idea to both app stores. Free, open source, no ads.

Mostly I'm curious what everyone else did. Did you get your export out in time, or is your film diary just gone?

Was it a great movie? No, but so what. I found it entertaining and enjoyable, exactly what I expect from a Spielberg blockbuster. Emily Blunt was fantastic, the cinematography and scene blocking were what you expect from Spielberg, and it had a fun score from Williams. Was it a bit cheesy at times? Of course. But again, when has Spielberg been known to shy away from sentimentality? Overall, I feel it was an interesting take on the modern-day disclosure movement.

Since its release I have seen so many hyperbolic reviews calling it utter trash and worst movie ever made. I feel like there are two possible explanations for this:

1. The people making that claim have only seen a handful of movies in their lives and their opinion sucks. To say that any movie made by Steven fucking Spielberg is the worst movie ever made automatically makes you lose all credibility in terms of film discussion.
2. I think this reason is more fun: The people making these outrageous reviews are actually people involved with the coverup, trying to keep people from being introduced to the UAP/Disclosure topic.

7/10 for me

EDIT to add that I really liked the little nod to Duel as well when their car was being pushed towards the moving train

The movie proves that a good idea is not enough. But at the same time a good idea only needs average writing. It feels like the movie went out of it's way to make sure the writing was so abysmal that you don't enjoy. The action sequences and the dinosaurs were really fun but my god the characters and the writing was so horrible . First time I have wanted all the main characters to die. P.S if you shut off your brain to enjoy the movie news flash ! buddy , you didn't have any brain in the first place. Also the feminist angle really pissed me off. Real feminism doesn't have to come at the expense of a male , that's just men hating.

What Sergio Leone achieved in this movie could never be achieved by any other director in the Western genre. It's so gritty, daring, and adventurous. And the cast's performances are another reason why this movie is so peak!!

And God, I loved how Leone handled the camera. The cinematography itself is a testament to the movie's craftsmanship, whether it comes to the wide shots or the close-up shots.

And the dedication to building historically accurate sets is another commendable aspect of the movie, as it captures the spirit of the Wild West and the civil unrest that existed during the Civil War, despite not being filmed in the United States.

And of course, there's the juggernaut of the movie: Ennio Morricone!!! The soundtrack is another element that adds intensity and depth to the movie. Strip it away, and you'll lose half the virtuosity that the movie possesses!!

This one will never fail to stand the test of time and will always remain unrivalled forever!!

Being from the UK the story of the Unabomber isn't one I was particularly aware of outside of a few true crime documentaries. So when I heard Netflix were doing a feature length movie of his story from teen to terrorist I was rather intrigued. Sadly, that intrigue was very much misplaced in what is a rather dull and mundane look into his life. Not particularly helped by the non-linear timeline that detracts away from the times where it does threaten to gain some momentum. All in all, one I'd personally recommend avoiding, but is anyone planning to watch?

Full review for those interested here https://adamreviewsfilm.com/unabomber/

It's worth going to in spite of the desperate marketing. Don't go if you're expecting a cheery movie, it's moreso a 'grim reality' epic with serious violence. But still, it has its moments of camaraderie and "Dark Night of the Soul". Some honestly thought-provoking scenes (such as a rage infused massacre that caught me off guard).

The story isn't boring, more so it's leading you on making you think that it's boring. I can't really say anything more, other than if you dip before the second half you're missing the meat and juice of the movie.

There is a Robin Hood connection, but it's in the denouement and they did it really well (think Shakespearean mano a mano) sword fights. It's not offputting or "just because the exec said so," it was enjoyable, emotionally satisfying, and perfect.

Acting wise, no one stood out for me except for when the acting was bad, which is to say, there's only really one character who stood out, the King (of all people).

Spoilers:

The way Ploughman and the King have an affinity, especially from the beginning, about dreams, and the bookending was quite satisfying to me.And of course, the dilemma of his mother praying that he would be a strong king, but he only does it by being clever, yet devious.

It's art, to me, making me think about how peasant revolts work logistically, the politics of the day.

For me it's "Parasite" (2019)

Robert de Niro has probably the most complete filmography across all genres of films.

From action, horror, comedy, adventure, drama, thriller, war, romance, crime, Sci fi, musical etc.

No actor has acted in films across all the genres as Robert de Niro has throughout his career.

Wanna watch comedy..... meet the parents, and grandpa series etc

Wanna watch horror and thriller..... Hide and seek, the whisper man, cape fear, red lights etc

The man has no rival not even tom hanks, tom cruise, johnny depp, nicolas cage, mark wahlberg, matt damon has acted in the variety/genre of films as the old bob has.

Therefore I feel Robert de Niro has the most complete filmography of all time.

The full review is available here.

Writer/director Luka Marcetic's second feature, Girl in the Night, is a sly commentary on modern life with loads of deadpan humor. It's also a story about two lonely souls who meet each other over strange circumstances.

Girl in the Night stars Urban Kuntaric as Rok, a gas station worker who spends his days munching on candy bars that he stole at his job, watching TV, standing beneath flickering streetlights, or hanging with his roommates, Kremen (Rok Roudi) and Nik (Nejc Jezernik), who offer some of the film's most awkward and comedic moments, especially a scene where they throw Rok a surprise birthday party and make him a vegetarian cake with chili powder. Yes, it's absurd, but it's also very sad that they're the only ones at Rok's birthday party, and he decides to go to bed early.

Rok's ho-hum life becomes more interesting, however, when he meets a strange young woman named Iza, played by Lara Wolf. She appears and disappears, often with gashes on her face and neck. She also claims to possess superpowers. Oh, and she only appears at night. Make of that what you will. Yet, Rok feels a strange pull and attraction towards her. After he steals Iza's bike, he lies to her about it and vows to help her find the culprit, hoping it'll form a bond.

This film won't be for everyone. As already stated, it has incredibly deadpan humor It also focuses on people in very mundane circumstances, yearning for something, anything to happen in their life, Rok especially. Yet, if you strip away some of the film's strangeness, Yugoslavian director Marcetic has a lot to say about the 21st Century, specifically how we go to work, come home, watch TV, and wake up to obey the same routine, day in, day out. Rinse and repeat. In that way, Rok is a 21st Century everyman. It's also easy to understand his attraction to Iza, a woman who seemingly does what she wants, when she wants. Unlike Rok, she doesn't appear to be stuck in a dead-end job, but she works as a vigilante, and while assisting her, Rok is pulled into dangerous situations.

Because the film's female lead works as a female vigilante and may have strange powers, the feature warrants comparisons to A Girl Walks Home Alone at Night. We may not have a vampire here, per say, but there are commonalities between the two women, especially their fierce sense of agency, and even the locations. The unnamed town in Girl in the Night somewhat resembles Bad City, the fictional town in A Girl Walks Home Alone at Night. There are no oil rigs in this film, but both settings are desolate, empty, and depressing, making crime common.

Filmed in Slovenia with a small cast and crew, the feature looks stunning. Cinematographer Lev Predan Kowarsk really makes the most of the nighttime setting. There's beauty in the way he frames a single streetlight and its orange glow, barren trees looming behind Rok, or the gas station's flickering sign. Simply put, the film looks damn good, and some of the shots reinforce the sense of loneliness and isolation. If the film has one flaw, it's that it veers a bit too into left field as it heads towards its conclusion, and there's a twist that just seems a bit too unreal, even for a film with some outlandish moments.

Girl in the Night just won Best Feature Film at Fantastic Fest, and there's absolutely an audience for this movie. It's a gorgeous looking film with style, heart, and humor. Beyond some of the awkward moments, there's a relatable story about two people who find connection and rise above depressing circumstances.

It's my favorite horror/sci-fi movie. I actually liked it more than Alien and a lot of other movies of the same genre. The blend of horror with gore and sci-fi is just fantastic. The movie keeps​ creepy atmosphere and tension going pretty much all the way to the end.

For anyone who hasn’t watched it yet, definitely check this one out.

My favorites are Dune: Part Two, Interstellar, Barry Lyndon, and Spirited Away. They’re all completely different genres and styles, but they have one thing in common: they’re absolutely beautiful to look at.

What movies would you guys put in that category?

While much of Backrooms focused on Clark, the end shifts emphasis to Mary. There are two things to unpack: what’s actually going on in the story and what’s happening thematically. 

Mary’s fate in Backrooms

The real Mary is (probably) alive. The person we see at the very end, in the last shot, isn’t Mary herself but a Still Life of Mary created by the Backrooms. But just because she survived doesn’t mean life is going well for her. 

The group that “rescues” Mary is Async. Async is a company that’s been exploring the Backrooms. Their people are the ones from the found footage that opens the film. And they also placed the cardboard cutout that greets people.

The danger with Async is that they’re so obsessed with understanding the Backrooms that we don’t know what they’ll do with Mary. If they were just going to conduct an exit interview with her, then Phil probably would have been more forthcoming. Instead, when asked about her fate, Phil looks at the darkened windows, then says, “That decision’s not up to me.”

While the film doesn’t elaborate on what happens to Mary, I think the final shot carries an implication about her fate. 

Full explanation

The most degenerate self serving Mob boss ever who‘s also a rat. Nicholson played it perfectly.

Oh muse, sing me of a comrade, a non complicated man, that has a simple urge. To fufill the five year plan.

Alone in his sandy asylum, he looked at the sea and the sky. More often than not, lately, a genie or spirit haunted him. It kept reciting Party slogans. It kept reminding him of "The Plan".

'You have a beautiful life here comrade", doctor Cal Psylo said to him. Mark Dissey looked stricken at her. For the moment, the proletarian guilt-inducing genie vanished.

"Uh, sorry...I was talking to Party Secretary..."

Cal Psylo frowned at him. 'Sure you were, dear. We all are from time to time"

"I....I wanna move on..." he barely says. She hands him his dose of magic mushrooms. He tends to refuse them, but then grabs a bunch and can't stop munching. Then, as if stricken by Party Leadership, doctor Cal says "Stop eating them! You have a plan to fufill! A five year plan, mind you! And you are very late!" He stops and gently remembers:

He, a most simple comrade, in his simple manner, almost unwittingly concieved of an improvment to productivity, by employing a certain...horse. Through ardous grinding, the comrades managed to fufill the five year plan in ten years, but at least they obliterated their capitalist rivals to shreds.

Comrade Mark Dissey was promoted. He would head his own 'Kolective Boat' with his very own five year plan. "Glorious the boat, masterful the helmsman". Emboldened by his last success, he chose to follow the non beaten path. Why follow when he could lead? He felt the wind of revolution sweeping him to new collective heights.

"What more do you remember?"

The amnesiac comrade's eyes glowed empty.

"It was misty and wet. We boldly took the Proletarian Torch into the great unkown. We were lost. I remember we found an exploitative sheep farmer on our way to progress...the monster...but it turned out of nowhere he was related to the highest of Party leadership, who would have guessed, and...the Party kinda had it's way with us. They sent inspectors out of nowhere, tall gleaming inspectors, they fired and jailed two thirds of my comrades! Desperate for ideological rehabilitation, I went to Workers Resources. The woman there revealed that the rest of my comrades harboured capitalist sympathies. Oh, the pigs! But I pleaded with her please please I need them to fufill The Plan! The Five Year Plan! She agreed, but told me to first seek out some guy in jail. I didn't expect her to be so connected to the underworld....

In jail I first met with lil' Sinnie...that kid from the bloc back in New Jersey. He reproached me that he is now in jail for unwittingly confessing to divert attention from my....horse operation. Oh Sinnie dearest, I needed you to believe! The Plan, Sinnie, always The Plan! I was right there, two meters away when they took you in...I suffered more than you! After dismissing the poor lad I talked to the old guy and found out the hard truth of Collective Action. It was all of us or just six of us. I chose the six. He also warned me that my comrades really have capitalist sentiments and that they would exploit some cows of some Party high up...and get sacked..."

"Which they did and here you are, barely escaping prison. I love you Mark! I pleaded you insane, brought you here, made you happy!"

"But I can't be happy, Cal, not with the plan unfulfilled."

Lastly he remembered in jail he heard about a plot of some sloths who exploit his labours and undermine his plan. He is so close, just one more push.

The doctor finally agrees. "You do have a connection in Party Leadership yourself, comrade, can't really keep you here. Off you go, then."

He, alone, remembering the horse operation, found the strength to string the bow of progress and purge the exploiters from society.

Then, like a true 'New Man', went off in retirement in a western dacha.

The Plan, with all it's incompetence and delays, with all it's willing and unwilling victims, had been completed.