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FBG Movie Club: We're Getting the Band Back Together: Metallica vs Nina Simone Movie Docs (1 Viewer)

I currently have

  • Netflix

    Votes: 9 90.0%

  • Amazon Prime

    Votes: 9 90.0%

  • HBO Max

    Votes: 8 80.0%

  • Hulu

    Votes: 8 80.0%

  • Disney+

    Votes: 6 60.0%

  • Criterion

    Votes: 1 10.0%

  • TCM Chanel

    Votes: 6 60.0%
  • Total voters
    10
KarmaPolice said:
I'm not sure it was intentional at all, I mean - why would she target a 12 year old boy to help with the killings.  I just think that over the course of the film it seemed like Hakan was becoming inept or his heart wasn't in it anymore and a replacement was probably going to be needed.  
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I actually think it was more serendipity than intentional, but like you said, there were a lot of unanswered questions such that I could have seen that particular angle. As for Hakan, his ineptitude is part of why I thought it possible that Eli saw the same qualities in Oskar that she had seen in Hakan when she had 'recruited' him in the past.

Speaking of no genitalia, that was the one scene that disturbed me and I could have done without.

 
Charlie Steiner said:
I'll have to take your word for that.

Out of curiosity, did the explanation precede the visual?
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If it was part of the movie, it was more of a deleted scene.  I was listening to a podcast that reviewed the movie last night and they said it was supposedly part of him/her becoming a vampire for some reason.  I assume it was part of the book, as I started reading that a couple years ago and could tell that it was going to go places that the movie didn't and I probably didn't want to as well.  

 
I am interested in the 2 movies as allegories: one for drug addict and enabler relationship, another for the “school shooter” phenomenon that didn’t even exist at the time. We have a kid who is abused and picked on so fantasizes about superpowers and takes revenge on the abusers with violence. I’m sure that wasn't what either filmmakers were going for but it’s where my mind went.

 
Ilov80s said:
I am interested in the 2 movies as allegories: one for drug addict and enabler relationship, another for the “school shooter” phenomenon that didn’t even exist at the time. We have a kid who is abused and picked on so fantasizes about superpowers and takes revenge on the abusers with violence. I’m sure that wasn't what either filmmakers were going for but it’s where my mind went.
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In Carrie, I see your point. In retrospect, it seems that I did not remember much from my 1st watch sometime in the '80s (which I lov too btw). I thought of it as a "horror movie" before my recent watch. Now, I don't see that way primarily. 

I know that others have touched on this earlier (you and wikkid at a min), so I don't want to claim any originally here; but it is a teen-flick/revenge fantasy with horror elements - imo.

While I was having fun with my 1st post about the volleyball opening, I was serious about Carrie being unfairly harshed from the very beginning - even b4 the true "infamous opening scene". I have not read the book, so I don't know anything about King's part in this, but the movie is not hinged on the supernatural, rather the supernatural just fills a needed role: means of revenge.

Oh - and like all teen-flicks, it needs its bared skin too - even if brief, unnecessary and/or unrelated to the rest of the plot. I won't complain too much.

As for the fun and campiness ... I loved all of Travolta's scenes. Not because he was good (ain't sayin he wasn't), but because he always had a beer and wtf look. The cop car scene was familiar to me - and I especially loved when he was "hiding" under the stage when the curtain got pulled back ... he had a beer of course - and no one noticed him or his beer. Kinda like when the other couple "stealthily" dropped the real ballots on the floor - er - on the dance floor ... with everyone around, and the dude kicked em under the curtains as the camera panned it - sweet scene. It was great. I am not being facetious here either; as it reminded me so much of the teen movies I grew up watching - that apparently got this from Carrie.

I'll think of more details latr.

Also, I still need to watch LTROI - my dog ate it - really.

 
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Oh - I almost forgot the part(s) that made me laugh the most. 

Now - I need to state that I am against violence of this sort and do not find real life instances of this humorous - at all. Today, we look differently at things like this, and the juxtaposition of the way it was handled at the time is the actual source of my laugh.

That said, Chris had a really bad day. Did anyone count how many times her face got slapped? I can think of at least 3 right now. Poor lass. I mean yeah - she's dead now, but crap - she was getting worked over pretty badly before Carrie raised a #### storm.

And speaking of Carrie ... when the teach slapped her to calm her down ... I saw this.

 
I may have more to say about each/both later, but i just watched Let the Right One In and i can tell you the difference between it and Carrie and what made one a Faberge puzzle and one a waste of time.

Patience.

Carrie was in a hurry from beginning to end, an entirely stoopit thing from such a fan of Hitchcock as de Palma has always professed to be. In a hurry to titilate, in a hurry to identify the tormenters & tormented, in too much a hurry to show how Carrie reacted to these unbelievable powers (yeah, the first thing i'd do if i could blow #### up with my feelings is go to the library seeking precedent), too much in a hurry to give her a normally terrible mother, too much in a hurry to get to the central prank. THEN it lingers for twenty minutes over a payoff we all know is going to happen. Honestly, by then Carrie could have blown up all their heads, made the earth cave in on itself and turned off the sun and i wouldnta cared less.

Let the Right One In took its time. Made me feel the loneliness in the child, the meaninglessness of his world, the magic desperation of the bete noire. By the halfway point, i wanted, yearned for the most wondrous things to happen, the most horrible things to happen, the most delicious things to happen. And they did. The taker of blood put blood into the heart of the only one who really mattered. Me...i mean him....i mean me. Come in.

 
wikkidpissah said:
I may have more to say about each/both later, but i just watched Let the Right One In and i can tell you the difference between it and Carrie and what made one a Faberge puzzle and one a waste of time.

Patience.

Carrie was in a hurry from beginning to end, an entirely stoopit thing from such a fan of Hitchcock as de Palma has always professed to be. In a hurry to titilate, in a hurry to identify the tormenters & tormented, in too much a hurry to show how Carrie reacted to these unbelievable powers (yeah, the first thing i'd do if i could blow #### up with my feelings is go to the library seeking precedent), too much in a hurry to give her a normally terrible mother, too much in a hurry to get to the central prank. THEN it lingers for twenty minutes over a payoff we all know is going to happen. Honestly, by then Carrie could have blown up all their heads, made the earth cave in on itself and turned off the sun and i wouldnta cared less.

Let the Right One In took its time. Made me feel the loneliness in the child, the meaninglessness of his world, the magic desperation of the bete noire. By the halfway point, i wanted, yearned for the most wondrous things to happen, the most horrible things to happen, the most delicious things to happen. And they did. The taker of blood put blood into the heart of the only one who really mattered. Me...i mean him....i mean me. Come in.
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That's definitely making it on the slide show for this month. Well said. 

 
Man of Constant Sorrow said:
In Carrie, I see your point. In retrospect, it seems that I did not remember much from my 1st watch sometime in the '80s (which I lov too btw). I thought of it as a "horror movie" before my recent watch. Now, I don't see that way primarily. 

I know that others have touched on this earlier (you and wikkid at a min), so I don't want to claim any originally here; but it is a teen-flick/revenge fantasy with horror elements - imo.

While I was having fun with my 1st post about the volleyball opening, I was serious about Carrie being unfairly harshed from the very beginning - even b4 the true "infamous opening scene". I have not read the book, so I don't know anything about King's part in this, but the movie is not hinged on the supernatural, rather the supernatural just fills a needed role: means of revenge.

Oh - and like all teen-flicks, it needs its bared skin too - even if brief, unnecessary and/or unrelated to the rest of the plot. I won't complain too much.

As for the fun and campiness ... I loved all of Travolta's scenes. Not because he was good (ain't sayin he wasn't), but because he always had a beer and wtf look. The cop car scene was familiar to me - and I especially loved when he was "hiding" under the stage when the curtain got pulled back ... he had a beer of course - and no one noticed him or his beer. Kinda like when the other couple "stealthily" dropped the real ballots on the floor - er - on the dance floor ... with everyone around, and the dude kicked em under the curtains as the camera panned it - sweet scene. It was great. I am not being facetious here either; as it reminded me so much of the teen movies I grew up watching - that apparently got this from Carrie.

I'll think of more details latr.

Also, I still need to watch LTROI - my dog ate it - really.
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This reminds me of one detail. No body drinks a beer the way Travolta does in this movie. More was running down his face then he was drinking.

 
wikkidpissah said:
I may have more to say about each/both later, but i just watched Let the Right One In and i can tell you the difference between it and Carrie and what made one a Faberge puzzle and one a waste of time.

Patience.

Carrie was in a hurry from beginning to end, an entirely stoopit thing from such a fan of Hitchcock as de Palma has always professed to be. In a hurry to titilate, in a hurry to identify the tormenters & tormented, in too much a hurry to show how Carrie reacted to these unbelievable powers (yeah, the first thing i'd do if i could blow #### up with my feelings is go to the library seeking precedent), too much in a hurry to give her a normally terrible mother, too much in a hurry to get to the central prank. THEN it lingers for twenty minutes over a payoff we all know is going to happen. Honestly, by then Carrie could have blown up all their heads, made the earth cave in on itself and turned off the sun and i wouldnta cared less.

Let the Right One In took its time. Made me feel the loneliness in the child, the meaninglessness of his world, the magic desperation of the bete noire. By the halfway point, i wanted, yearned for the most wondrous things to happen, the most horrible things to happen, the most delicious things to happen. And they did. The taker of blood put blood into the heart of the only one who really mattered. Me...i mean him....i mean me. Come in.
Click to expand...
I do wonder how much of this is a function of just these two movies, and how much is how we make our movies - especially horror movies.  This is a big reason I gravitate to the foreign horror movies and why so many would be at the top of my list for the genre, especially in the last couple decades when a lot of the American movies are all about what you are describing - rushing through to get to the next boobie shot, jump scare, or gory setup.  Great horror for me has great acting, and the ability to let the audience squirm as they drag out the suspense.  Let the Right One In as a great example of this, as is something like Audition.  That movie has plenty of scares and gore, but it also had the patience to set up the beginning in what felt like a dreamy rom-com, so when the #### hit the fan it was all the more unsettling.  

All that said, I like Carrie a lot more than you seem to, despite the 70s cheese.  

 
Ilov80s said:
I am interested in the 2 movies as allegories: one for drug addict and enabler relationship, another for the “school shooter” phenomenon that didn’t even exist at the time. We have a kid who is abused and picked on so fantasizes about superpowers and takes revenge on the abusers with violence. I’m sure that wasn't what either filmmakers were going for but it’s where my mind went.
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I can get the behind the 2nd one a bit, but I personally didn't pick up on the first one.   What stuff in the movie was giving you that vibe - mostly Hakan having to do her dirty work and getting the blood, etc..? 

 
KarmaPolice said:
I do wonder how much of this is a function of just these two movies, and how much is how we make our movies - especially horror movies.  This is a big reason I gravitate to the foreign horror movies and why so many would be at the top of my list for the genre, especially in the last couple decades when a lot of the American movies are all about what you are describing - rushing through to get to the next boobie shot, jump scare, or gory setup.  Great horror for me has great acting, and the ability to let the audience squirm as they drag out the suspense.  Let the Right One In as a great example of this, as is something like Audition.  That movie has plenty of scares and gore, but it also had the patience to set up the beginning in what felt like a dreamy rom-com, so when the #### hit the fan it was all the more unsettling.  

All that said, I like Carrie a lot more than you seem to, despite the 70s cheese.  
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It may also be that the Scandinavians have more night. It's only light about 5 hrs in winter there. There's no greater stillness than dark & snow, which is probably where they get their patience as well as their creepiness.

As i said before, i'm fairly immune to blood & horror, as i am to action. I'm a gen behind being satisfied by a movie just by the eye####. But, each June for the last few years, i've been writing on a vampire novel (it's basically Vlad goes to Washington - the youngest of the two remaining Dracul/Tepes OG vampires goes to fix the problems caused by his brother Radu, who starts wars as cover for satisfying his appetites, and ends up being chased by DARPA for his DNA) and my favorite themes to think on in its composition are time (what has a person learned when theyre almost 600 yrs old?), hunger and loneliness, all of which are beautifully dealt with in LTROI. 

The important thing with this flick, as opposed to Carrie, is that i felt no dread. That's good for me, because i'm inclined to put fear, guilt & dread away quickly and become easily bored & irritated by them in storytelling. By the time stuff started happening here, i wanted it to happen. We explore themes like serial killers & vampirism & such because we want to know that of which the human instrument is capable, so it's much more delectable to be on the side of the monster than to fear being its victim. Caring about the Frankenstein monster as much as the victims is what started the horror (and science fiction) genre. By the time Carrie became the monster, i didn't care.

 
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KarmaPolice said:
...

All that said, I like Carrie a lot more than you seem to, despite the 70s cheese. 
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I'm with you on this, but I would not use the word "despite". I enjoyed the cheese greatly. 👍

 
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KarmaPolice said:
I can get the behind the 2nd one a bit, but I personally didn't pick up on the first one.   What stuff in the movie was giving you that vibe - mostly Hakan having to do her dirty work and getting the blood, etc..? 
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Eli is obviously dependent on the forbidden blood. She can't control herself without it, she looks like a strung out drug addicted mess. She stays inside all day, only comes out at night, is depressed, doesn't have many interests beyond getting her fix. Hakan's life is totally ruined by her addiction. His life is consumed with trying to help her get her fix, not get caught, take care of her needs. He does unspeakable things that I am sure he couldn't have imagined and really isn't getting much out of it. Oskar is weak and desperate for a friend. He seems to get pulled into the Hakan role, doomed for a life trying to help someone who can't be helped, someone who will likely ruin his life, drain it dry slowly. A few simple changes and it could easily have been about a young heroin addict, the old creep who gets her drugs in exchange for some kind of taboo gratification and the young lonely boy who gets pulled in not out of romantic love but to fill a dark hole in each other. Both doomed for a life of perpetual hell. 

 
I just finished LTROI.

It is a very good movie. Well acted & written.  The soundtrack and cinematography are superb. I can't point to any flaws - but, I did not enjoy it as much as Carrie for one reason alone; it was too depressing for me. I'm not asserting that it is objectively depressing, rather that is how it affected me.

Carrie had enough cheese to carry my spirits through the horror elements. LTROI did not. I ended up splitting it into 3rds and took a short intermission between each - just cause I felt like doing it.

If I were to rate the 2 for objective quality, I think LTROI is much better. However, it just wasn't my style. And, as I stated earlier, I am not very well versed in the horror genre to begin with.

However, I do think that it touched some pretty interesting topics. 

KarmaPolice said:
I never know quite how to handle the ending.  There is scenes of sweetness in the movie, but overall I am still left with an overwhelming scene of loneliness at the end for these two.  How much does Eli care vs. her just needing a human to get her blood?  Does Oskar realize the life he is in for as he becomes the next Hakan?   Seems like they are a fitting pair, but that doesn't make it a happy pair.
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Yeah. There is a certain nihilism to the ending, imo. I was left with the feeling that these questions are left open intentionally - it is just the way things now are for this pair. And to a degree, that in itself is as horrifying as the supernatural elements.

I need to sleep on it I think.

 
Man of Constant Sorrow said:
I just finished LTROI.

It is a very good movie. Well acted & written.  The soundtrack and cinematography are superb. I can't point to any flaws - but, I did not enjoy it as much as Carrie for one reason alone; it was too depressing for me. I'm not asserting that it is objectively depressing, rather that is how it affected me.

Carrie had enough cheese to carry my spirits through the horror elements. LTROI did not. I ended up splitting it into 3rds and took a short intermission between each - just cause I felt like doing it.

If I were to rate the 2 for objective quality, I think LTROI is much better. However, it just wasn't my style. And, as I stated earlier, I am not very well versed in the horror genre to begin with.

However, I do think that it touched some pretty interesting topics. 

Yeah. There is a certain nihilism to the ending, imo. I was left with the feeling that these questions are left open intentionally - it is just the way things now are for this pair. And to a degree, that in itself is as horrifying as the supernatural elements.

I need to sleep on it I think.
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There is a pretty intense sense of melancholy throughout the entirety of LTROI. It’s sadness is almost beautiful in a way, at least to me. And I think that is what ultimately elevated the film beyond the constraints of its genre.

 
bigbottom said:
There is a pretty intense sense of melancholy throughout the entirety of LTROI. It’s sadness is almost beautiful in a way, at least to me. And I think that is what ultimately elevated the film beyond the constraints of its genre.
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Yeah. Good point.

I see how it can be viewed that way. It's the primary reason that I didn't want to label the movie itself as too depressing - just its effect on me.

I think that after I sleep on it, and get over my current brain chemistry, I will be able to look at it from your perspective a little better.

 
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Looks like we’ve settled into a solid audience size. 17 votes this month, 16 last, 17 and 20 the months prior. Looks like we are sustainable.

 
Got around to "Let the Right One In" last night.  I'm not sure I can add much over what has been said already, but agree on it being pretty well-done and a good selection. It will stop me from stereotyping movies based on a plot involving a teenage vampire romance.

Agree on the movie and ending having some melancholy/sadness to it.  It had some Romeo and Juliet vibes to me; the protagonists don't die at the end, but not quite a "happily ever after" for the couple.

 
Ilov80s said:
Looks like we’ve settled into a solid audience size. 17 votes this month, 16 last, 17 and 20 the months prior. Looks like we are sustainable.
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I still have not voted, since I wanted to sleep on it.

Also, I need to ask - should I vote based on my opinion of movie quality or my personal enjoyment of watching the movie? I didn't even think of that till now.

 
Don Quixote said:
Got around to "Let the Right One In" last night.  I'm not sure I can add much over what has been said already, but agree on it being pretty well-done and a good selection. It will stop me from stereotyping movies based on a plot involving a teenage vampire romance.

Agree on the movie and ending having some melancholy/sadness to it.  It had some Romeo and Juliet vibes to me; the protagonists don't die at the end, but not quite a "happily ever after" for the couple.
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I hadn’t thought about it but you are right, its kind of a Twilight genre film

 
All vampire stories should be romances, though that may soon be overruled by current morés. Even though the one i work on is hi-concept, bigly themed, it's still told by a potential victim, a reporter who thinks a Romanian trade ambassador is more than he appears

 
KarmaPolice said:
Who gave LtRoI a 1? 
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Ilov80s said:
Good question. I think I have both a 3.
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WHOA!

What ever happened to the sanctity of the vote? 🤬

1st, we are denied the full vote for this months movie theme. Sure, we could choose from 3 ... your 3!

What I object to is you automatically treat us like an inferior!

By exploitin' the posters -- by 'angin' on to outdated imperialist dogma which perpetuates the economic an' social differences in our movie club!

I suggest considering an anarcho-syndicalist commune; where we take it in turns to act as a sort of executive officer for the week.

😁

I voted 3 fer both.

Carrie: I enjoyed it as a 4, but I thought that it was a 2 quality. (4+2)/2 = 3

LtROI: I enjoyed it as a 1.5 , but I thought that it was a 4.5 quality. (1.5 + 4.5)/2 = 3

 
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KarmaPolice said:
I mean, it's all good- I would just love discussion from the person is all.  
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Soory, KP.

I was having fun by quoting Monty Python.

Please ignore my stupid stuff; I don't make a lot sense, quite often.

I'm all for dissecting the vote. 

Also, I have more to say on LtROI, but don't have time now. I just wanted to rib you guys one day after election day.

ltr

 
KarmaPolice said:
Uh, what's "noir"? 
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I know you know and I am sure most here know know or sort of know but I will indulge:

Film Noir (literally 'black film" or "black cinema') was coined by French film critics (first by Nino Frank in 1946) who noticed the trend of how 'dark', downbeat and black the looks and themes were of many American crime and detective films released in France to theatres during and following World War II, such as  The Maltese Falcon (1941), Murder, My Sweet (1944),  Double Indemnity (1944), The Woman in the Window (1944), and Laura (1944). A wide range of films reflected the resultant tensions and insecurities of the time period, and counter-balanced the optimism of Hollywood's musicals and comedies.

Feelings of fear, mistrust, bleakness, loss of innocence, despair and paranoia (displayed through visual styling and low-key lighting) were readily evident in noir, reflecting the 'chilly' Cold War period when the threat of nuclear annihilation was ever-present. The criminal, violent, misogynistic, hard-boiled, or greedy perspectives of anti-heroes in film noir's story conventions were a metaphoric symptom of society's evils, with a strong undercurrent of moral conflict, purposelessness and sense of injustice. 

 or the tl;dr

a style or genre of cinematographic film marked by a mood of pessimism, fatalism, and menace.

 
I was 1/2 joking.  I will admit it's a genre I haven't watch a ton, despite the description being movies that should be right up my alley.  

I am sure I've seen the heavy hitters, but probably not much past that.  

ETA: thanks for the description/definition though.  It's one of those things I probably know it when I see it, but couldn't define it well for someone else.  

 
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Ilov80s said:
I know you know and I am sure most here know know or sort of know but I will indulge:

Film Noir (literally 'black film" or "black cinema') was coined by French film critics (first by Nino Frank in 1946) who noticed the trend of how 'dark', downbeat and black the looks and themes were of many American crime and detective films released in France to theatres during and following World War II, such as  The Maltese Falcon (1941), Murder, My Sweet (1944),  Double Indemnity (1944), The Woman in the Window (1944), and Laura (1944). A wide range of films reflected the resultant tensions and insecurities of the time period, and counter-balanced the optimism of Hollywood's musicals and comedies.

Feelings of fear, mistrust, bleakness, loss of innocence, despair and paranoia (displayed through visual styling and low-key lighting) were readily evident in noir, reflecting the 'chilly' Cold War period when the threat of nuclear annihilation was ever-present. The criminal, violent, misogynistic, hard-boiled, or greedy perspectives of anti-heroes in film noir's story conventions were a metaphoric symptom of society's evils, with a strong undercurrent of moral conflict, purposelessness and sense of injustice. 

 or the tl;dr

a style or genre of cinematographic film marked by a mood of pessimism, fatalism, and menace.
Click to expand...
Not noir enough

 
KarmaPolice said:
I was 1/2 joking.  I will admit it's a genre I haven't watch a ton, despite the description being movies that should be right up my alley.  

I am sure I've seen the heavy hitters, but probably not much past that.  

ETA: thanks for the description/definition though.  It's one of those things I probably know it when I see it, but couldn't define it well for someone else.  
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Yeah the definition is debatable. Is it the plot/themes that make it noir or is it the way it is filmed? 

 
November Movie Club Double Feature

With November being voting month, I let the people decide and they chose Noirvember. So here we go with femme fatales, heists and handguns. Besides just picking 2 random noirs, I tried to find two share some commonalities to make the double feature especially interesting. There are some landmarks here. Our oldest movie yet. Our first black and white movie. Our first Kubrick movie. 

1956: The Killing

A crook assembles a five man team to plan and execute a daring race-track robbery.

Streaming on Amazon Prime 

 1998: A Simple Plan

Greed and distrust rip apart three men as they try to hide the discovery of a downed plane and the millions of dollars inside it. 

Streaming on Amazon Prime  and Hulu

due 12/2 so keep it spoiler free until then

 
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