Such a fantastic film to watching during lockdown thematically. The feelings of not quite feeling settled, the restlessness of the unknown and foreign, and the separation from the "norm".
What I picked up from this viewing compared to when it first came out is identifying more with Bill Murray's character than Scarletts. I think it's so beautifully written and performed that age factors into it but that gap isn't hugely generational per se. I think it also helps to…
I'd love to have several beers with John Carpenter just to hear him talk about how he would have directed this one differently, had he taken the reigns. I mean, we all know he didn't want to make this really and smashed out the script with a 6 pack but still, I feel like just hearing the man himself commentate this one, one-to-one, about directorial decisions he might have made differently, would be something truely special.
When rewatching this, it…
I'm not even much of a sports person but you don't need to be to appreciate the raw talent and dedication on display here from the great Michael Jordan. There are so many moments of super human performance that simply astonishes, time and time again. It's not entirely about Jordan although probably 90% of it is focused on him and rightly so.
Speaks volumes about what it takes to win at that level of competition, the mindset, the training, the absolute desire to win at any and all costs. Makes for entertaining viewing.
The Criterion blu-ray is simply greatness. The film is unmatched 35 years later. Hearing Emilio Estevez talk about the film is rare but this recent TIFF chat is well worth a watch for fans.
The Breakfast Club always feels like this is John Hughes in his purest form. The absolute pinnacle of what he wanted to say in a teen film. It has huge heart, great laughs, the archetypes, and forever referenced in other teen films trying to become their decades…
Not as exciting as Infinity War but still a fairly fitting ending to it all. Solid escapist conclusion.
Sidenote — I completely understand why it's the biggest film of all-time in this particularly day and age although there's a big part of me that feels a little sad by this fact. Scorsese's comments really do ring true as I just can't imagine this one ageing like a fine wine but it is what it is.
An absolute classic, still holding up today in that pure 80's Spielberg way. Watched along with the Two Dudes and some Bullshit live commentary.
Pleasantly surprised by Doctor Strange. It felt different enough from the rest of the MCU universe, a strong cast, and some mindless entertainment.
Good quality quarantine viewing.
This continues to be one of those films I like to revisit and connect with, year in, year out. There is an eternal sweetness and earnest to the story — the Minnesota home town feel, the Christmas time setting, the 'modern' fairytale aspect to it, all encapsulate a perfect escape from reality in these times.
Not to be without fully acknowledging the entire aspect of Slater's character being considered a "stalker" too but I think the way director Tony Bill…
The first rewatch in 7 years and I think I was probably a bit too harsh on initial viewing (1.5/5). But then... rewatching this today it still feels underwhelming for the same reasons as when I first saw it — lack of a true likeable protagonist to root for and that sense of fun Raimi goes for in his originals. This is all played super serious but I dunno, it borders on torture porn and that's never really been my bag.
Nearly all the stars go to Tom Savini's handy work here because the other 85 mins or so are incredibly dull. Don't get me wrong, I love 80's slashers — the mood, the atmosphere, the scores, the bad acting, but The Prowler is at times, so fucking dull, I fell asleep three times. Director Joseph Zito and Savini are a great pairing because the kills are 80's style practical brutal and Savini often claims this is one of his better pieces of work. But they did a much better job overall when they reunited with Friday the 13th: The Final Chapter (1984).