[Tsundoku]

Well, you have my attention ...
(Australian movie too!)



Not too shabby an accent on Asa as well.

This post has been edited by Tsundoku: 24 September 2026 - 10:06 AM

[QuickTidal]

Tsundoku, on 14 July 2026 - 10:45 AM, said:

I ... have no frickin' idea WTF this is ...

If anyone is curious about this and isn't sure whether they want to see it or not. Then plot has been leaked, and as someone who would have been on the fence about seeing it (Innaritu is hit or miss with me), I'm glad I know now as I won't see it.

MAJOR spoilers

Spoiler

The whole movie is a play about the real digger financed by his nephew. It’s all based on real events that happened in that world and is meant to teach us about satire as a coping mechanism. So it’s a play within a movie.

[Cause]

Resident evil movie punched well above its weight. Very fun, very good

[QuickTidal]

2024's French language THE COUNT OF MONTE CRISTO is incredible. Start to finish, not a wasted frame. Amazingly acted, and scored, and shot and directed. Not an easy project to nail, but man do they do it!

[QuickTidal]

QuickTidal, on 26 June 2026 - 12:21 PM, said:

Sigh, I had issues with this adaptation and the anachronisms therein, but the more I watch the trailer the more I'm sucked in, so I'll stay mum for now and see what the actual film looks like before weighing in fully. It definitely looks better than the Netflix P&P

Saw this on Friday. Georgia Oakley I apologize, I did NOT know you had this much game. My gods this was stunning. As a die-hard Austen fan this sits in the top three adaptations for sure (behind 1994 PRIDE & PREJUDICE, 2020's EMMA, and now this 2026 SENSE & SENSIBILITY), even with some MILD anachronisms for the time period it never drops all the way into 2005 P&P levels of anachronisms. For example, unbound hair in a lot of scenes but Oakley keeps them to private moments at or near home and when the women go out with the men or go into society they pull their hair up and don bonnets. The movie already beat the 1996 And Lee attempt by ACTUALLY featuring the third sister (Margaret) which Lee had largely excised into a minor role, and spent more time with the mom which Lee also largely ignored. This was also the most complete translation of book to screen, so much was left out in the 90's version to tighten it to a 1.5hour affair, so at 2hrs and 11min this new version of the story really has a chance to breathe and let the characters inhabit the story.

The fact that this is like only Oakley's second film is an astonishing feat, it smacks of ability throughout on a directorial level. Diana Reid's screenplay is at times quiet and reserved, but it's never afraid to let the characters absolutely bombastically react too. In a few moments Oakley lets the characters behave in VERY realistic ways with specific movements or truisms that you don't usually see in Austen adaptations where everyone is usually super afraid of letting the characters just be "human"....three moments come to mind here, one is when Marianne is bereft about Willoughby's behaviour and she goes out onto the moors in the rain and screams his name and it's almost unintelligible...so real, same is true of when Edward comes calling and Elinor still thinks he's married Lucy Steele and she needs to bring herself to confront him and is standing against a wall and makes this very "I'm frustrated" movement with her body and felt super real, and lastly a scene with young Margaret that shows her youth in eating fresh blackberries from a bush barehanded, mouth, dress and fingers dyed purple from the juice...again these human moments are not the normal stuff you see in Austen adaptations and they were SO welcome and added so much nuance.

The cinematography was brilliant throughout, as was the lighting. There's a ball scene in a manor house and the lighting on the set was largely the evening sun waning into setting, that orange-y amber glow...my gods it just makes everything so much more visually appealing.

The score by Roger Goula (who I had never heard of before) was amazing throughout, and I immediately grabbed it on Apple Music to listen to in the car on the way home. Just brilliant.

the actors were all incredible, but Daisy Edgar-Jones was a MAJOR standout as Elinor...my goodness she was amazing. There is a gravitas she brought to the role that I was constantly impressed with, while also being still genuinely a girl in her early 20's, Herbert Nordurm is amazing as Colonel Brandon in every scene, and Fiona Shaw turns in a funny as hell performance as the constantly loquacious Mrs. Jennings. Esme Creed Miles and Catriona Balfew were also excellent. Just a well rounded cast who performed really well together.

I can't say enough nice things. This was wonderful and Georgia Oakley is one other watch out for. Easily in my top 3 films of 2026.

This post has been edited by QuickTidal: 19 October 2026 - 11:43 AM

[TheRetiredBridgeburner]

We watched Clue over the weekend - I was completely unaware of it before Tim Curry's passing.

It's beyond silly and is an absolute joy as a result. I read afterwards that they filmed three different endings of "whodunnit" for the release in cinemas, and it's fun seeing all three on the end of the film now.

[QuickTidal]

TheRetiredBridgeburner, on 20 October 2026 - 09:37 AM, said:

We watched Clue over the weekend - I was completely unaware of it before Tim Curry's passing.

It's beyond silly and is an absolute joy as a result. I read afterwards that they filmed three different endings of "whodunnit" for the release in cinemas, and it's fun seeing all three on the end of the film now.

An absolute classic movie. One of his best performances as well.

[TheRetiredBridgeburner]

QuickTidal, on 20 October 2026 - 11:11 AM, said:

TheRetiredBridgeburner, on 20 October 2026 - 09:37 AM, said:

We watched Clue over the weekend - I was completely unaware of it before Tim Curry's passing.

It's beyond silly and is an absolute joy as a result. I read afterwards that they filmed three different endings of "whodunnit" for the release in cinemas, and it's fun seeing all three on the end of the film now.

An absolute classic movie. One of his best performances as well.

He really is brilliant in it.

There has been a lot of shouting "Ruuuuuun down the hall!" in our house since

[QuickTidal]

In my quest to watch all things Ming-Na Wen (I have not found a role where I didn't think she was excellent), I realized that I had never seen THE JOY LUCK CLUB, so I watched it on Saturday night. What an absolutely stellar film! And I had no idea that it wasn't just Ming-Na Wen in it, but Lauren Tom (FRIENDS), Rosalind Chau (DS9), and Tamlyn Tomita (KARATE KID II) are all in it too. I loved the generational nature of it with the elder Chinese moms seeming like they were cold or brutal to their girls, only to learn their stories in flashbacks to China and realize how they arrived at those positions. Just wonderful throughout and I was red-eyed and sobbing at the end. I've heard talk of a sequel as recently as 2024 so that would be really good, I assume with the younger women from the first playing the roles of the elder women from the first...or perhaps they will still feature the mother characters as grandmothers (they are all still alive after all).

Anyways. Loved it. I think in 1993 when I was only 16 this would not have resonated with me, but as an adult, 100%

EDIT: I discovered after the fact that some ABC have issues with it conforming to stereotypes about Asians, but I think that's part of the time period and what Amy Tan's experience was, especially since the moms are all from a pre-Mao China in the 1920's when Beijing was still Peking...their experience especially as immigrants in the 1950's and 60's would be wildly different to anyone born in the latter portion of the 20th...so I would hope a sequel would dive into how the generational dynamic would change agains from. the silent Gen moms, to the Boomer daughters to the Millennial or Generation Z kids. Anyways, I think it shows a specific window of the Chinese immigrant experience that might vibe for some and not for others.

EDIT 2: Oh also in my quest to watch all things Ming-Na Wen I checked out MULAN II (straight to video sequel) and it was suitably terrible...Funnily enough these straight to video sequels to Disney hits always got made in Canada by the Disney North crew and I knew one of the animators (he worked with me at Second Cup for a spell) and he ALWAYS said they all knew they were shit and that Disney never put effort into them because they depended on sales to young families who just bought them for their young kids who liked the original hit movies...which makes me sad. Ming-Na does her best with what she has.

I also watched two straight to video movies she made in the 90's, one of them was called TERMINAL VOYAGE (also STAR QUEST) and is on Tubi...it's awful too...VERY 90's straight to video...nothing of import. And another TV movie that's LESS bad but still bad called TEMPTING FATE which is about Tate Donovan and his friend creating a gate to a parallel earth where the version if HIM there dies so he takes his place to get back with the wife he lost on his earth...Ming-Na is a secondary love interest here. It's really quite bad, even for a TV movie, but it's better than the space one.

Remaining Ming-Na films to see: ONE NIGHT STAND (typically I'm NOT a Mike Figgis fan, the only movie on his filmography I've ever liked was LEAVING LAS VEGAS), and a few other straight to video efforts. Awaiting Mike Shum's WATCHA WANT which she is in that debuted at TIFF in September.

This post has been edited by QuickTidal: 26 October 2026 - 12:16 PM

[TheRetiredBridgeburner]

Ghosts: The Possession of Button House

A slightly slow first half hour aside (which I don't think could really be avoided), if you enjoyed the BBC series you'll enjoy the film. More of the same silly, heartwarming and wholesome fun writ larger for the big screen.

This post has been edited by TheRetiredBridgeburner: 28 October 2026 - 07:48 AM

[amphibian]

We saw You Can See Everything.

It is absolutely worth the hype - and it is excellent in a way that is not because it's a "Is she not actually scamming?" story. The interesting part is that Nathan, a guy who made his career mostly on satirizing scams while getting quite good at figuring out how to handle interpersonal situations, prepares to not be scammed and fails because Elizabeth Holmes is that good at scamming men.

There are multiple layers to the story that touch upon so much bad stuff in society and even though this was 3 hours long, it's all worth it.

Someone comes along in the second half of the story that basically saves the whole thing while elevating it to an even better level.

I have several more thoughts that I'd be happy to discuss if people want.

[Whisperzzzzzzz]

Seeing it on Sunday!

[Whisperzzzzzzz]

Wow, wow, wow. I feel unsettled after watching You Can See Everything. I am left unsure whether Liz is a passive, empty husk of a person, or if she is a master manipulator who can shapeshift into anything that will get her what she wants (yet who also has a borderline personality class condition and so will never truly understand human emotions or actions).

This post has been edited by Whisperzzzzzzz: 02 November 2026 - 06:03 AM

[Chance]

Watched Wildwood over the weekend and while it has a hard time deciding if it's for kids, teenagers or adults from scene to scene it is a very beautiful movie. Can recommend to anyone who want to see beautiful animation and a kind of modern day fairytale.

This post has been edited by Chance: 02 November 2026 - 12:57 PM

[QuickTidal]

Whisperzzzzzzz, on 02 November 2026 - 06:02 AM, said:

Wow, wow, wow. I feel unsettled after watching You Can See Everything. I am left unsure whether Liz is a passive, empty husk of a person, or if she is a master manipulator who can shapeshift into anything that will get her what she wants (yet who also has a borderline personality class condition and so will never truly understand human emotions or actions).

She's a manipulator....she literally tries to game the word "CAN" to mean "at some point down the road" instead of "now" and also pretends she's never told a lie in her life, and pretends to not get "Who's on first". She's a deeply manipulative narcissist. And the husband is a controlling, manipulative a-hole. Together they are insane.