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#31
Bad Movies / Re: 100 Historical Movies in O...
Last post by Rev. Powell - August 23, 2026, 10:36:53 AMSure: I'll jump 18 years.
103. Interstellar — ends 2067
103. Interstellar — ends 2067
#32
Good Movies / Re: Recent Viewings, Part 2
Last post by Rev. Powell - August 23, 2026, 10:34:40 AMQuote from: M.10rda on August 22, 2026, 10:24:30 PML'INHUMAINE {THE INHUMAN WOMAN} (1924):
The fact that the diva mostly comes off as a drag queen alternately impersonating Meryl Streep, Bette Midler, or Shirley MacLaine might constitute a "bug" in other movies, but somehow in this one it's basically a "feature".
Would it surprise you to learn she got the role because she paid for half the production? Cool movie, at any rate.
#34
Bad Movies / Re: 100 Historical Movies in O...
Last post by M.10rda - August 23, 2026, 07:49:00 AMOkay,
102.) BLADE RUNNER 2049
then.
(I hope 22 year jumps are now acceptable, lol.)
102.) BLADE RUNNER 2049
then.
(I hope 22 year jumps are now acceptable, lol.)
#35
Good Movies / Re: Recent Viewings, Part 2
Last post by indianasmith - August 23, 2026, 07:40:29 AMREPLACE (2017) - A young woman named Kira discovers that her skin is drying out and peeling off at an abnormal rate, and the infected area is spreading. Doctors can't seem to help, but then she realized that even a small piece of fresh skin will instantly bond to and replace the infected area . . . so she starts murdering young women and stealing their skin! This one is rather bizarre and full of plot holes, but I will say it was entertaining. (2017)
#37
Games / Re: p**sed Off Chickens
Last post by bob - August 23, 2026, 01:00:39 AMBetter to be a p**sed off chicken then a p**sed on chicken
#38
Good Movies / Re: Recent Viewings, Part 2
Last post by M.10rda - August 22, 2026, 10:24:30 PML'INHUMAINE {THE INHUMAN WOMAN} (1924):
Another check in the Win column for Marcel L'Herbier, director of the staggering L'ARGENT and the earlier, passible ELDORADO. I don't know if I adore the film as a whole, but it has lots of admirable elements. A famously influential early French director, one could see L'Herbier's potential link to Scorsese in L'ARGENT... but it's anyone's guess how many filmmakers might've seen and semi-consciously held on the images of L'INHUMAINE: Fellini? Kubrick? Lynch? Tsukamoto? One more timely name that's almost a certainty: Fritz Lang, whose METROPOLIS definitely seems indebted to a ton of the scenic design elements in L'Herbier's film.
A bunch of pompous windbags (an Oligarch, a Maharajah, a western guru who broadly promotes "humanity", and others) queue up at a nouveau mansion to court a famous diva. The fact that the diva mostly comes off as a drag queen alternately impersonating Meryl Streep, Bette Midler, or Shirley MacLaine might constitute a "bug" in other movies, but somehow in this one it's basically a "feature". The most consequential suitor is an unassuming young dude who the other characters regard as an "engineer" - though as it turns out he's actually a full-blown mad scientist.
The first hour of L'INHUMAINE required some patience, as it is essentially romantic melodrama, though with a bunch of odd flourishes (visually and sometimes narratively). Gradually as it enters its second half, the film briefly seems to flirt with supernatural horror before it finally settles comfortably into Science Fiction with some suspense-thriller flourishes. There are twists and I could only predict the final one (which wouldn't be an unusual plot point if it wasn't 1924) a couple minutes in advance. There's also a lengthy sequence towards the end where it's revealed that the mad scientist has essentially invented Zoom or Skype. Again, there's plenty of old B+W genre films where a bad guy has video conferencing technology, but L'INHUMAINE spends 10 solid minutes portraying pandemic-era themes like screen addiction and FOMO and the digital liveness debate. This is one of those films that's truly ahead of its time.
Devo could've rescored the last 5 minutes and played it on MTV in the early 80s. Those last five minutes also look like they're out of a Tsukamoto TETSUO flick (or one of my earlier experimental college editing projects). The film ends with one of L'Herbier's signature moves - the willfully out-of-focus shot. They appear here and there throughout L'INHUMAINE to signal feverish emotions or confusion, but in the finale the soft focus delivers a self-consciously overwrought sentimentality, the kind that I usually struggle to swallow outside of Lynch's work. L'INHUMAINE is kind of a shambling crazy car of a film, but moments like this one put it over for me. 4/5
Another check in the Win column for Marcel L'Herbier, director of the staggering L'ARGENT and the earlier, passible ELDORADO. I don't know if I adore the film as a whole, but it has lots of admirable elements. A famously influential early French director, one could see L'Herbier's potential link to Scorsese in L'ARGENT... but it's anyone's guess how many filmmakers might've seen and semi-consciously held on the images of L'INHUMAINE: Fellini? Kubrick? Lynch? Tsukamoto? One more timely name that's almost a certainty: Fritz Lang, whose METROPOLIS definitely seems indebted to a ton of the scenic design elements in L'Herbier's film.
A bunch of pompous windbags (an Oligarch, a Maharajah, a western guru who broadly promotes "humanity", and others) queue up at a nouveau mansion to court a famous diva. The fact that the diva mostly comes off as a drag queen alternately impersonating Meryl Streep, Bette Midler, or Shirley MacLaine might constitute a "bug" in other movies, but somehow in this one it's basically a "feature".
The most consequential suitor is an unassuming young dude who the other characters regard as an "engineer" - though as it turns out he's actually a full-blown mad scientist. The first hour of L'INHUMAINE required some patience, as it is essentially romantic melodrama, though with a bunch of odd flourishes (visually and sometimes narratively). Gradually as it enters its second half, the film briefly seems to flirt with supernatural horror before it finally settles comfortably into Science Fiction with some suspense-thriller flourishes. There are twists and I could only predict the final one (which wouldn't be an unusual plot point if it wasn't 1924) a couple minutes in advance. There's also a lengthy sequence towards the end where it's revealed that the mad scientist has essentially invented Zoom or Skype. Again, there's plenty of old B+W genre films where a bad guy has video conferencing technology, but L'INHUMAINE spends 10 solid minutes portraying pandemic-era themes like screen addiction and FOMO and the digital liveness debate. This is one of those films that's truly ahead of its time.
Devo could've rescored the last 5 minutes and played it on MTV in the early 80s. Those last five minutes also look like they're out of a Tsukamoto TETSUO flick (or one of my earlier experimental college editing projects). The film ends with one of L'Herbier's signature moves - the willfully out-of-focus shot. They appear here and there throughout L'INHUMAINE to signal feverish emotions or confusion, but in the finale the soft focus delivers a self-consciously overwrought sentimentality, the kind that I usually struggle to swallow outside of Lynch's work. L'INHUMAINE is kind of a shambling crazy car of a film, but moments like this one put it over for me. 4/5
#39
Bad Movies / Re: 100 Historical Movies in O...
Last post by Rev. Powell - August 22, 2026, 10:12:59 PMFeel free to keep going with ones set in the future. E.g.
101. Children of Men (ends in 2027, I'm told).
101. Children of Men (ends in 2027, I'm told).
#40
Bad Movies / Re: RECENT VIEWINGS (Bad Movie...
Last post by LilCerberus - August 22, 2026, 09:55:35 PMQuote from: M.10rda on August 22, 2026, 09:38:59 PMI can't argue w/ your criticisms, but the giant killer alien bigfoot FX are simply unmissable. There is an MST or Rifftrax version, one or the other, to ease the pain.Yeah, I guess in hindsight, the props used to imply just how big the bigfoot is are noteworthy, it's just that the chaos unfolds so slowly....