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Spaghetti Kitchen: Watch Your Six

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The Thin, The Phat, and the Felon

 

Image result for simpsons credits fourth wall  Image result for simpsons cowboy  Image result for simpsons shooting star

 

Spoiler

So @Blankments decided he'd go all in on the western ports this year. 

 

I remember quite enjoying this little jaunt when I read it in 2.0, back when Pegg and Frost were explicitly the leads. The film was fast, breezy, and, if not quite as sharp as Wright's other works, is a damn good time. While maybe this new port is a bit rustier, the fun and joy is still there.

 

Maybe first hot take: I think Gleeson and Patel should have switched roles. Patel has an energy kind of similar to Pegg, and he can bring humor and warmth to even straight man roles, while Gleeson has proven himself to be unexpectly sharp with comedic timing and slacker energy. Both do well in their roles, but I feel like there was a bit of missed potential.

 

The film itself is breezy fun, if not quite as funny as some as Wright's other works. The question bit made me laugh out loud, however. The plot is relatively not super intriguing until the very end, where the conclusion felt bot surprising and touching, even if I feel the characters weren't fully developed enough to deliver its full impact. Either way, Wright's direction is sharp and focused as ever, leaving no edit or frame underutilized and giving us a big, fun experience in the process.

 

Even if it's not quite all it could be, the film will have audiences shouting, "Yee hah!"

 

B/B+

 

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Facepaint

Image result for simpsons makeup  Image result for simpsons lion  Image result for simpsons band

 

Spoiler

So I'm a bit more of a fan of Ari Aster's movies than cookie, so this review will have that perspective in mind. That said....I don't think Aster was quite the right director for the film, or at least it doesn't fully play to its strengths.

 

The plot feels more like a B-movie premise, while the potential metaphor stemming from Amy and Silas' different goals and desires maybe pushing them apart feels kind of underutilized. The film's structure also does veer a bit towards being too silly at times, also feeling kind of like a short film stretched to feature length. However, Aster does manage to get some pretty effective body horror out of the process, and Ehrenreich and (especially) Rossum do good work in their roles.

 

Definitely a mixed bag, but an interesting one either way. I'll give it a pass because of that.

 

B-

 

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Pikmin

 

Image result for simpsons conga  Image result for simpsons crashed ship  latest?cb=20080318202559

 

Spoiler

Not too much to say about one to be honest. While the stop motion animation is quite lovely and probably the best way to tell the story, it feels a bit too obvious that this is drawing from a video game, which kind of hampers the narrative a lot by making it feel like watching someone play. The voiceovers don't add a whole lot either, and it's kinda where we see more of the dynamic between Olimar and the Pikmin being told and not shown.

 

The animation is nice, but the rest of it kinda feels flat. Sorry @SLAM!

 

C/C+

 

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Plus One

Image result for simpsons karaoke  Image result for chicago simpsons  Image result for simpsons he-man

 

Spoiler

Romantic Comedies are something that get a bum rap, but more often that not, you have a radiant smile on your face as you leave the cinema. With Nicholas Stoller's Plus One, you won't find much here that you haven't seen elsewhere, but a bit like Gateways this year, the heart here is big enough to transcend its familiar story.

 

Granted, a big part of this is thanks to Adam Driver and Tessa Thompson's impeccable chemistry. Their characters are flawed, make iffy decisions, but feel relatable and real, trying to power past their past transgressions. And they're all the stronger for it. Both performers are sharp, fun, and perfect for the material. Of course, if your leads don't have the necessary charisma, the film is pretty much moot.

 

The Brian Tyree Henry plot, while having some moments, kinda went nowhere for me, and the big reveal with him doesn't amount to a whole lot imo. I like him a lot, but kinda felt he was underutilized. Still, he and Midler have moments of hilarity, and Lance Garrett is especially a hoot. Honestly, there's not a whole lot more to say about this movie. It's kind of like a slice of pizza. You've had it before, but it isn't any less delicious. It's flawed and slight, but in a way, genuine life and emotion can transcend cliche.

 

B+

 

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Voicemail

Image result for simpsons voicemail  Image result for simpsons elevator  Image result for simpsons seizure

 

Spoiler

Voicemail is a fascinating beast of a movie. I wouldn't necessarily compare it to the "pantheon" of @Xillix's other horror movies, particularly in how it weaves in mystery and horror together as a genre. When it drives from this angle, I think it's actually incredibly compelling.

 

The first two thirds of this movie are really invigorating, mixing some genuine chills and suspense development with a few truly well executed - and utterly horrifying - kills. At the heart of it is Morena Baccarin's character of Yara. Brilliantly acted, she's a bit like Daniel Henney in Yin or Quinn Lord in Borrsca, where her desperation to solve the mystery that puts the people she cares about at risk is presented in a strong, emotional manner while playing up the sense of danger that surrounds her.

 

Of course, both movies had vastly different conclusions, and how does this end up?

 

That's kind of where things get complicated.

 

I'm gonna say that ultimately....the ending kinda undermined the movie for me. Which is a shame, since the start of the film was truly terrific. (Another parallel to Borrasca, akin to cookie's review). Speaking of @cookie, I think it does kinda get muddled in how it handles its metaphorical theme on overcoming past trauma and domestic abuse. I think this thread could have been a bit stronger throughout the film, but it's admirable how well it tries to grapple with that, even if the ending kind of leaves a bit of a sour taste in my mouth. I can handle unhappy endings, but this kinda muddles its thematic approach, IMO. It's gonna be divisive for a lot of people, especially victims of domestic abuse.

 

Still, it's an impressive crafted and mostly poignant picture with some genuine terror and solid craft. While the finale does sink it a bit, don't leave this film on hold.

 

B/B+

 

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Right now I've read everything through the end of July, as well as a few scattered projects from August onward (namely the ones I previously reviewed) barring Pokemon 3, which I am saving as the very last thing I read.

 

If I cannot get a top 25 by Sunday night, which is more likely than not, you can at least expect one early next week.

 

I'm also going to be a thorn in @Xillix's side and admit that there are quite a few films that have changed ranking since I reviewed them.

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Okay so I feel like I should nip this in the bud before my Top 25.

 

Prepare thyself, @SLAM!.

 

In the Aeroplane Over the Sea

 

Spoiler

I remember reading this film prior to its posting in Part 1, and as soon as I finished, I was VERY curious what people were going to make of it. Not that it would disappoint people, but that the final product was....definitely going to raise some eyebrows.  I wanted to wait until I re-digested the film in its posted version. I figured it was only fair to go back and re-read it before coming to a final consensus.

 

I remember liking it in its original form, but understanding how people might be a bit phased out by it. To be honest, I still didn't quite know what to make of it, but even then, it has a daring ambition that definitely isn't for nothing.

 

So what did I think now that I had a second chance to fully digest one of the most controversial films in CAYOM 3.0?

 

First, let me prefact that In the Aeroplane Over the Sea, the album that serves as the film's namesake, is legitimately incredible. A haunting, poetic album wit a faintly hopeful sound amidst the undercurrent of darkness. That was in and of itself a major reason I was hyped for this project, yet at the same time apprehensive given how easily it could make people go, @cookie previously mentioned:

 

Image result for almighty loaf computer

 

So, Slam can rest assured now: I liked it more than Numbers and Xillix. Perhaps even Rory. However....I do think it has some problems.

 

In the Aeroplane Over the Sea alternates between being two films: One a more straight-forward story of the construction of the album. This plot feels kinda slight and leans more into fairly generic musical biopic with a bit less conflict, but ultimately, it works because the music itself is legitimately compelling, and the bandmates share some fun camaraderie together. However, I can say with confidence that the film's gold star weapon is Ross Lynch as Jeff Magnum. He's got the musical talent and emotional tact to handle Magnum at all levels as he's written, and he succeeds beautifully. From what I've read, I definitely feel comfortable giving him the Oscar for this.

 

The other story, being more a lurid, aiming-for-Lynchian psycho-study, chronicling a descent into moral taboo and desperate idealism by weaving artistic gold from a horrific real life tragedy. Some people love this aspect, while others have been....less than kind. Let's break it down.

 

I like the angle that the film initially tries to pursue (even if the introduction to the narrative feels a bit contrived) on Magnum feeling like she needs to bring peace to Frank and be her hero, while somewhat spinning her into her muse, confidante, and....yeah. I think the film feels a bit scattershot in how it ultimately depicts Magnum's relationship with Frank, but I think at the same time, it feels more surface level than it should be. We don't really understand why Jeff feels so close to Frank, which sure, dreams don't always make sense, but there are honestly fewer dream sequences than I remember in this. It feels like it jumps to the (admittedly moving) sequence with the title song the scene that's made a lot of people uncomfortable (yeah it was way more awk than I remember, lol), and then Frank just tries to leave his mind.

 

Ultimately, I don't feel certain what the filmmakers were trying to say with all of this, and some of its major points are only really felt in one scene, kind of hampering their overall dramatic impact. I think there are parts where the lucid nature really works, particularly in the first scene with Anne Frank, but the film, at its worst, borders on slightly tone-deaf (Honestly, this film would move up a grade or two if that scene was taken out. On top of what's already been said, I don't feel like it really furthers anything) But at the same time, I have to give credit where credit is due. This does grapple with a lot of fascinating themes (even if briefly and implicitly) and no doubt feels pretty thought provoking on the creative process, our connection to historical figures, and even the male savior narrative.

 

The in-universe discussions on this movie would be quite something.

 

Also, I'm not gonna touch on the more uncomfortable elements more than I already have, since that's been done fairly extensively. It's also a kind of tricky situation where I know @SLAM! had absolutely zero malicious intent in this story.

 

I say that the film kind of fits into two stories because they don't really impact each other as much as I was hoping for, at least not until the very end. While I can see why the bandmates didn't intervene, the real world scenes kind of drag due to a lack of conflict and more chance at an introspective look at his dreams. Both haves have faults and positives, but they would ave been stronger if they tied a bit more to create a more cohesive whole.

 

It's kind of hard to talk about this movie, to be completely honest. I'm certain most of what I wrote so far feels like incoherent rambling . But at the same time, it almost feels like the film itself. It's clearly not for everyone and has legitimate problems, but I do see it having a strong following. I'm ultimately gonna give it a positive grade thanks to Lynch's incredible performance, the strong musical craft, and it inviting us to think deeper about various topics, even if the film doesn't quite dive deep enough into its themes, I think. I didn't find it as quite the lucid experience that some have said it is, but it's clear that I've never read a film quite like this in CAYOM.

 

It deserves points for ambition, the inspiration of commentary, some artistic merit, and ultimately, having its heart in the right place. The final product is flawed, but it's something I'm not going to forget any time soon.

 

B

 

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5 minutes ago, Spaghetti said:

Okay so I feel like I should nip this in the bud before my Top 25.

 

Prepare thyself, @SLAM!.

 

In the Aeroplane Over the Sea

 

  Hide contents

I remember reading this film prior to its posting in Part 1, and as soon as I finished, I was VERY curious what people were going to make of it. Not that it would disappoint people, but that the final product was....definitely going to raise some eyebrows.  I wanted to wait until I re-digested the film in its posted version. I figured it was only fair to go back and re-read it before coming to a final consensus.

 

I remember liking it in its original form, but understanding how people might be a bit phased out by it. To be honest, I still didn't quite know what to make of it, but even then, it has a daring ambition that definitely isn't for nothing.

 

So what did I think now that I had a second chance to fully digest one of the most controversial films in CAYOM 3.0?

 

First, let me prefact that In the Aeroplane Over the Sea, the album that serves as the film's namesake, is legitimately incredible. A haunting, poetic album wit a faintly hopeful sound amidst the undercurrent of darkness. That was in and of itself a major reason I was hyped for this project, yet at the same time apprehensive given how easily it could make people go, @cookie previously mentioned:

 

Image result for almighty loaf computer

 

So, Slam can rest assured now: I liked it more than Numbers and Xillix. Perhaps even Rory. However....I do think it has some problems.

 

In the Aeroplane Over the Sea alternates between being two films: One a more straight-forward story of the construction of the album. This plot feels kinda slight and leans more into fairly generic musical biopic with a bit less conflict, but ultimately, it works because the music itself is legitimately compelling, and the bandmates share some fun camaraderie together. However, I can say with confidence that the film's gold star weapon is Ross Lynch as Jeff Magnum. He's got the musical talent and emotional tact to handle Magnum at all levels as he's written, and he succeeds beautifully. From what I've read, I definitely feel comfortable giving him the Oscar for this.

 

The other story, being more a lurid, aiming-for-Lynchian psycho-study, chronicling a descent into moral taboo and desperate idealism by weaving artistic gold from a horrific real life tragedy. Some people love this aspect, while others have been....less than kind. Let's break it down.

 

I like the angle that the film initially tries to pursue (even if the introduction to the narrative feels a bit contrived) on Magnum feeling like she needs to bring peace to Frank and be her hero, while somewhat spinning her into her muse, confidante, and....yeah. I think the film feels a bit scattershot in how it ultimately depicts Magnum's relationship with Frank, but I think at the same time, it feels more surface level than it should be. We don't really understand why Jeff feels so close to Frank, which sure, dreams don't always make sense, but there are honestly fewer dream sequences than I remember in this. It feels like it jumps to the (admittedly moving) sequence with the title song the scene that's made a lot of people uncomfortable (yeah it was way more awk than I remember, lol), and then Frank just tries to leave his mind.

 

Ultimately, I don't feel certain what the filmmakers were trying to say with all of this, and some of its major points are only really felt in one scene, kind of hampering their overall dramatic impact. I think there are parts where the lucid nature really works, particularly in the first scene with Anne Frank, but the film, at its worst, borders on slightly tone-deaf (Honestly, this film would move up a grade or two if that scene was taken out. On top of what's already been said, I don't feel like it really furthers anything) But at the same time, I have to give credit where credit is due. This does grapple with a lot of fascinating themes (even if briefly and implicitly) and no doubt feels pretty thought provoking on the creative process, our connection to historical figures, and even the male savior narrative.

 

The in-universe discussions on this movie would be quite something.

 

Also, I'm not gonna touch on the more uncomfortable elements more than I already have, since that's been done fairly extensively. It's also a kind of tricky situation where I know @SLAM! had absolutely zero malicious intent in this story.

 

I say that the film kind of fits into two stories because they don't really impact each other as much as I was hoping for, at least not until the very end. While I can see why the bandmates didn't intervene, the real world scenes kind of drag due to a lack of conflict and more chance at an introspective look at his dreams. Both haves have faults and positives, but they would ave been stronger if they tied a bit more to create a more cohesive whole.

 

It's kind of hard to talk about this movie, to be completely honest. I'm certain most of what I wrote so far feels like incoherent rambling . But at the same time, it almost feels like the film itself. It's clearly not for everyone and has legitimate problems, but I do see it having a strong following. I'm ultimately gonna give it a positive grade thanks to Lynch's incredible performance, the strong musical craft, and it inviting us to think deeper about various topics, even if the film doesn't quite dive deep enough into its themes, I think. I didn't find it as quite the lucid experience that some have said it is, but it's clear that I've never read a film quite like this in CAYOM.

 

It deserves points for ambition, the inspiration of commentary, some artistic merit, and ultimately, having its heart in the right place. The final product is flawed, but it's something I'm not going to forget any time soon.

 

B

 

 

Thank you Spaghetti! I love this review! I feel like you summed it up really well!

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Okay let's break down this evening:

 

7:00PM EST - Banished to the Trash Realm

The absolute worst in Y6 cinema.

 

7:10PM EST - On the Verge of Greatness

Honorable Mentions for My Top 25

 

7:20PM-8:00PM - Top 25 Reveal

 

8:30PM - The Pastafarian's Gift

An exclusive look at pre-read options that the three best writers of the year will get to enjoy.

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The Elixir Bad Award for Worst Movie of Y6

 

Okay, I'm not gonna beat around the bush here.

 

It's clearly Brickleberry: Armoogeddon.

 

Say what you will about Johnny Johnny and its ilk. At least it doesn't rely on banal racist, sexist, and homophobic humor. This is a wretched abomination and everyone involved with it should be ashamed of themselves. And Daniel Tosh should be hurled into the sun, please, for the love of god.

 

--

 

Let's get past the more obvious shit (3:38 AM, Thawed, etc.), as there were a few films that were more serious efforts that didn't do it for me.

 

Espionage Project - Okay this was just really fucking stupid, and not in a fun way.

 

Double Chronomance - It feels like a lame rough draft of clearly better films, and Reitman is an awful fit for the material. Beyond the iffy casting choices and senselessly ridiculous plotting, it falls flat on its face.

 

The Fairly Oddparents - A film that doesn't make use of its source material at its best to deliver a kind of limp final product that doesn't understand what the material needs to do in order to work. Despite the inspired casting, the questionable character choices and weak structure really do it in. It's fun to see the characters again, at least.

 

God of War: Kingdom Come - A relative slog to get through, despite Ripley being a bad-ass. It feels like Snyder didn't even want to make this movie, nor did anyone involved in production. The studio has taken a lot of care on other projects, so hopefully this is a fluke.

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Tbh the reason Brickleberry wasn't my worst of the year was because I actually finished it and went "yup, that's the trash that used to ruin my late night TV watching when I was still living at home." Couldn't say the same about Rapsittie.

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