195 posts shown.
mistydrifter73 said:Anyone know if this movie is actually hitting theaters here in the States?
I can't stand watching those crappy CAM or TS versions, and waiting for the Blu-ray is gonna take forever...
Raymond Palmer8 said:
Unthinkable
Got a fresh rec for all you thriller junkies out there.
It's an awesome thriller/drama—gotta love seeing Samuel L. Jackson, Carrie-Anne Moss, and Michael Sheen leading the charge.
So, this guy Younger (Michael Sheen) converts to Islam and ends up planting several nuclear bombs across the US. An FBI agent named Brody (Carrie-Anne Moss) is running the investigation, trying to track him down, only to realize the military has already snatched him up to squeeze him for those locations.
To get the intel from the prisoner, they bring in this specialist known as "H" (Samuel L. Jackson).
The whole interrogation thing turns into this intense psychological war where everyone's just trying to figure out where they actually stand and what their priorities really are...
Honestly, such a great flick. That 7.4 on IMDb isn't even being generous—personally, I’d give it way more.
Definitely check it out.
really great film. that 7/10 rating on IMDb isn't an exaggeration. personally, I'd give it even more.
definitely recommend.
placidjackal36 said:There’s always some "wise African American guy who drops some profound truth and then just fades away."
Mark Wood79 said:It’s not exactly true that there aren't many great directors;
'Brick' is one of those movies that feels different. In a good way, I suppose. Most things you find at a Blockbuster or playing in mainstream theaters these days are just high-budget productions that don't really care about plot or character development. With 'Brick,' the story is set in a high school, but even though it has some teen movie elements, it offers a completely different vibe and tone. The plot is well-constructed and layered, having this natural flow where things unfold slowly, but they still hit hard for the characters and the story. The director and writer, Rian Johnson, seems to have figured out the most important thing for movies involving teenagers. High school is their entire world, and everything happening there carries massive weight for them. When these kids get pulled into a web of betrayal, murder, and drug dealing—and when they talk using this specific slang that sounds more like something out of a 40s or 50s noir than modern American teens—you realize you're watching something special. It shows a lot of talent from the director and the whole crew. It probably won't draw massive crowds, but it'll definitely find a cult following. You don't even need to be a noir fan to enjoy the structure and the characters, who feel unique but somehow still fit perfectly into that school setting. There’s a real social hierarchy here; everyone is divided, and moving up the ladder is basically impossible. The lead, Brendan (played by Joseph Gordon-Levitt), is this loner type who stays to himself, pretty indifferent and closed off. But after getting a mysterious call from his ex, Emily (played by Felicity Hun), he gets dragged into the world controlled by The Pin (played by Marshall Allman), the local drug dealer who walks around with a cane and runs his operation out of a basement (which leads to some funny moments). Nothing is what it seems, and once Brendan finds Emily dead, he dives deeper to find the truth, getting some shady help from Brain (played by David Mazouz). He goes up against dealers and a femme fatale who manipulates everyone (played by Nora Zehetner), eventually finding an answer that hurts him but lets him move on. It’s an interesting blend of noir and teen drama, even if they don't share much besides the setting. The story actually requires you to pay attention, which is enough reason to give it a shot.
At first glance, you see all the usual tropes: a serial killer targeting sex workers, a guy nobody believes who’s left alone to catch him, a race against the clock to save victims... We see these plots on American TV every single night. And don't even get me started on the movies. Some critics say it feels like a mix of Fincher's *Seven* and the show *24*. But honestly... *The Chaser* stands out from those other genre pieces because it’s actually a great thriller, and then there's more to it than just being a thriller. Just like *Oldboy* or that incredible *Memories of Murder* (which, besides everything else, shares those intense foot chases through narrow alleys), beneath the polished surface of a thriller, *The Chaser* packs a heavy dramatic punch and some sharp social commentary. That satire might grate on some people, though, because the police incompetence is so maddeningly high that even an average American viewer—used to seeing much more professional investigations on shows like *Law & Order*—might find themselves frustrated by the lack of skill. Still, it's worth noting the script is based on a true story. I guess police departments everywhere are pretty much the same. The suspense is handled weirdly, too, since it isn't a "whodunit." You know who the killer is within fifteen minutes, and (spoiler!) he's caught within the first half hour. And yet, even his written confession doesn't help the cops find where he's hiding a tied-up, unconscious victim surrounded by bodies. To make matters worse, if they don't find physical evidence fast, he might actually get released due to a botched arrest. The only hope lies with a former cop, fired for corruption, who's now working as a pimp trying to get his "investment" back. This anti-hero reluctantly starts this dark journey through the city streets—searching, as it turns out, for his own soul.
*The Chaser* doesn't shy away from clichés: the sex worker with a "heart of gold" (forced into the life but caring for her young daughter), the kid who's way too smart for her age, and the pimp who moves from pure greed toward a vague kind of redemption. I guess the depiction of a bureaucratic, incompetent police force isn't just a local thing; it's a common trope, much like the thin motivation for the psycho-killer (impotence!), which maybe could have been explored a bit deeper. Still, debut director Na Hong-jin manages to juggle all these elements impressively, never giving the audience a second to breathe. *The Chaser* is basically a rollercoaster that grabs you so hard that you might only start processing it once everything is over and you've survived the bitter, anti-climactic ending. The director handles emotions well, in a subtle way that will probably be watered down in that upcoming American remake being produced by Leonardo DiCaprio. He plays with audience expectations quite well, staying unpredictable and cranking up the suspense to almost unbearable levels. It’s dark, heavy, brutal, and harsh. It doesn't offer fake hope or cheap Hollywood catharsis; by leaving so much in a gray area, it sticks with you. This chaser will stay with you long after the credits roll.
Ben Affleck’s career path is actually kind of an interesting story. Born in Berkeley, California, he basically wanted to act since he was a kid—he even did a Burger King commercial back in the day to get his start. Around age 12, he met Matt Damon, and they went to acting classes together. That’s where their friendship really started, which eventually led to all their shared projects. After some TV work, he showed up in "Dazed and Confused" (1993), and then working with Kevin Smith on indie cult classics like "Mallrats" (1995) and that solid performance in "Chasing Amy" (1997) gave him some momentum. But things didn't really explode until later. While living in an apartment with Matt and his younger brother Casey, Ben and Matt decided to just write something themselves. They wrote "Good Will Hunting" (1997), which changed everything—nine Oscar nominations and two wins, including for the screenplay. That definitely helped. After that, Ben started landing big Hollywood roles, though quality varied, like in "Armageddon" (1998), "Shakespeare in Love" (1998), and "Changing Lanes" (2002), making him a major name. A random bit of trivia: Ben actually played a CIA analyst, Jack Ryan, in "The Sum of All Fears" (2002). That franchise, which previously featured Alec Baldwin and Harrison Ford, didn't really take off, but that type of role is exactly what Matt Damon became famous for playing as Jason Bourne in those action movies. Eventually, Ben decided to switch things up and step behind the camera, successfully joining the ranks of actor-directors like George Clooney, Sean Penn, Clint Eastwood, Robert Redford, Jodie Foster, and even newer names like David Schwimmer or Kirsten Dunst. As for his directorial debut, I guess it was a pretty pleasant surprise. Like one critic noted, it looks like Ben found his niche in Hollywood. Personally, aside from "Chasing Amy" and maybe a few others, I think Ben is better behind the scenes than in front of the camera. (I agree 🙂)
briskhound2 said:Nope...
Drew Sanders5 said:Underworld is still way, way better than anything else out there. Vampires and werewolves.
ironmarlin1 said:Maybe the secret behind why the first Mortal Kombat actually managed to pull some numbers—even if it was total trash—is just how asexual Liu Kang is.
Ethan Howard45 said:http://cultofghoul.blogspot.com/2009/03/thevampires.html
