| Name | Bancho Libre |
|---|---|
| Gender | Male |
| I'm From | Wahiawa, HI |
| Member For | 470 days |
| Last Login | Tue. Jul 8 |
| Profile Views | 1230 |
| MCT Score |
| Movie: |
All-time: Oldboy Currently: Be Kind Rewind |
|---|---|
| Actor: |
See list on right. ON WATCH: María Valverde Melonie Diaz |
| Director: |
Chan-wook Park Christopher Nolan Kevin Smith |
| Quote: |
"You know what I like about you? Absolutely nothing." -Rob Force, Finishing The Game |
|
We end every class with a set of ten questions by the great Bernard Pivot. 1. What is your favorite word? Jusco 2. What is your least favorite word? Uwe 3. What turns you on (creatively, spiritually, or emotionally)? Mary Elizabeth Winstead 4. What turns you off? Mary Katherine Gallagher 5. What sound or noise do you love? Quiet... 6. What sound or love do you hate? ...too quiet. 7. What is your favorite curse word? "What the duck?" 8. What profession other than your own would you like to attempt? I've done 'em all 9. What profession would you not like to do? Host of Dirty Jobs 10. If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates? "Good job impregnating Jessica Alba. I saw all 5 hours." |
Skin art by
SupernaturalTeen
| Grab this skin
Bancho's Recent Reviews
View All Ratings (371) |
Rate Movies
There Will Be Blood
R
The pace of There Will Be Blood is slow, yet satisfying... much like a milkshake moving through a straw acroooooosss the room. And the ending is nothing short of BONKERS.
Daniel Dae-Kim is amazing in this film, as is all the other actors.. though Paul Dano didn't seem to age. The cinematography, directing, and haunting score are also key. Paul Thomas Anderson is a true filmmaker.
Whether you like bat-shit oil tycoons or bowling, There Will Be Milkshake is 2 1/2 hours of plain-speaking bliss.
I'm finished!
Wanted
R
This movie was good for what it was-- Matrix meets Equilibrium with a dash of Shoot 'Em Up (but not too much!).
The CG was excellent, but Angelina Jolie looked weird. They should've superimposed her Beowulf body into this.
The plot was kind of odd-- a textile factory loom giving out kill orders? Points for originality.
In all, a good watch.
WALL-E
G
Pixar does it again with Wall-E, a movie that really flexes the storytelling chops of the animation giant. The majority of the film is silent, forcing the film into visual overdrive, and it is beautiful. The graphics and animation here are better than ever, rivaled only by the french bread in Ratatouille.
Wall-E plays on the universal theme of loneliness. Wall-E is all alone on Earth, left to clean up the garbage left by the human race, who ditched the planet long ago. Because robots need loving too, enter the appropriately named Eve, a robot sent to Earth to find signs of life.
There are a few cautionary tale sub-plots. The film tells you what will happen if we keep living the way we do now: the Earth will become a barren wasteland, we will all look and sound like Kathy Najimy, and a big-box retail company will rule the world. Come to think of it, we're not far off.
...Oh, and in the future, all the computers run on OSX. Wall-E makes the Apple boot-up sound when recharged. Eve is a sleek white and blue design. Another one of the later characters is actually voiced by MacSpeak. ...No, we're not very far off at all.
Normally, I don't like films with social commentary bullshit. But this one is an exception. A great film. Johnny 5 alive!
The Happening
R
There is a toxin in the air... it's the steam rising from this pile of shit.
I should have known, M. Night. You had me at The Sixth Sense, but since then, all you've done is let me down. Unbreakable, Signs, The Village,... each time you disappointed me. But I always came back for more, each time fooling myself into believing the next time will be better. But no more, M. Night. The Happening was the last straw. You've hurt me for the last time. I'm taking the car. Goodbye.
Over the years, M. Night Shyamalan has slowly revealed himself to be a no-talent hack, his directorial skills rivaling those of Uwe Boll. This piece of crap movie serves as his coming-out party. Shyamalan tries to be Hitchcock; instead, he's just plain cock. Wahlberg, Deschanel and Leguizamo aren't Oscar-caliber actors by any stretch of the imagination, but Shyamalan's steaming pile of directorial skills manage to produce performances comparable to the black lady in Yo-Yo Girl Cop.
Not only does he suck in directing, but M. Night also sucks at writing, too! The plot for this film sucks, and the dialogue for this film is so bad, it left a vomit taste in my mouth. The one thing I found slightly enjoyable in The Happening was the realistic violence. The scene where the jeep hits the tree is pretty cool. But that's about the only good thing here; the needle in the haystack, the diamond in the rough, the corn in the doo-doo if you will.
To be fair, I didn't stay to see the whole thing. I couldn't. I walked out around halfway through the film-- right around the time the guy lies in the path of the lawnmower. Which mirrored exactly how I felt at that point in time. But, judging from the 60 minutes I did endure, I think it's safe to say a 1 star rating is not too sweet, not too rancid, but juuuust right.
The Grand
R
The Grand is an improvised comedy; and the cast really flexes their comedic talents. But the whole thing felt TOO improvised; the plot often goes off on unnecessary tangents. A good try, somewhat humorous... but if you're looking for a poker film, this isn't it.
Bancho's Favorite Movies
View All
(10) | Create a MovieBoard
1.
Oldboy
R
My favorite movie. Great story, realistic violence, and a twist at the end. Amazing cinematography, especially the hallway fight scene. Also, there are some disturbingly raw scenes, like when the main character eats a live squid. I like when filmmakers get brave and put stuff like that in their films. There's a cute girl in it, too, which is a plus, except what happens to her in this movie is just gross.
2.
Battle Royale (Batoru Rowaiaru)
Unrated
This movie depicts teenagers killing other teenagers, which makes it automatically controversial in nature, but it's the premise and the characters' emotional dilemma that truly make the film intriguing. Any time you put your characters between a rock and a hard place, conflict will arise and characters flourish. That's textbook screenwriting. And what worse situation can you imagine than a class of teenagers forced to slaughter their fellow classmates, some of them close friends, or be killed themselves? Seeing the different impacts this dilemma has on each and every one of these poor kids is pure genius on the part of the director. Excellent story, brutal cinematography, and amazing acting (with a twist of randomness at the end by Beat Takeshi). I just wish they had left it at that and didn't try to milk a sequel out of it.
3.
Kill Bill: Volume 1
R
I like when filmmakers do unusual, "non-Hollywood" things in movies. The non-linear storytelling and anime interlude help make this one of my favorite movies. I just wish Tarantino came up with these devices himself. People that don't like this film usually cite its simple story. No shit, it's a revenge film. Someone screws over the main character; the main character gets revenge. What more is there? The story is simple, and the pacing moves accordingly. As usual, Tarantino's dialogue saves some scenes from being potentially otherwise stale, such as the scene where the Bride finds Hanzo. (It also helps if you put a legend like Sonny Chiba in there.) I really liked the fight sequences. She's no Michelle Yeoh or Zhang Ziyi, but props to Uma Thurman for taking on such a physically demanding role. There was not a single moment in this film that did not entertain me. And the cliffhanger sets up Volume 2 perfectly.
5.
The Big Lebowski
R
Typical Coen Brothers, if there is such a thing. Lots of randomness, but woven together seamlessly, as if a hippie, a trio of German techno-pop nihilists, a stolen rug, a severed toe and bowling were naturally meant to go together. That's great writing. Shut the fuck up, Donny.
6.
Robotto kânibaru (Robot Carnival)
Unrated
Robot Carnival is an anthology of shorts all focusing on robots. Its groundbreaking animation and innovative storytelling is reminiscent of Fantasia, and got me forever hooked on the art of Japanese anime.
Bancho's Movie Scrapbook
Bancho's Talk
View All (315)
-
skactopusposted 0 minutes ago -
Greetings with love,
My name is miss Nancy and my contact address is (nancy_goodluck@yahoo.dk)
iam a young beautiful girl with full of love and caring also romantic,
well i saw your profile at(www.flixster.com)and i loved it,i think we can click
together please i will like you to use your email address
to contact me directly to my emailbox at the same time i will show you my
photo and you also know more about me.
thanks for your understanding please i am favorably hoping to get your reply.
contact me with this email address below
nancy_goodluck@yahoo.dk
yours in love,
Nancy.posted 10 hours ago -
I recommend you see...
Wool 100%
by JustinWhat is it with Japanese films being ridiculous? You don't ever see films like this in Hollywood. That is probably because Hollywood would never let it hit the big screen.
You better read the plot before watching this because a lot of this film will not make sense. In the back of your mind you really feel as if there is some great concept and meaning to the story, but unless you dig down deep enough, or you know the director personally, you will not be able to figure it out. It is a shame really, since the animated introduction does a good job at getting you rolling with the film. As the movie moves forward you also get the feeling that multiple stories are being told at once.
On another note, more then half of this film deals with only 3 characters and all 3 of them have little dialogue. In fact, this entire movie has little dialogue. So this a movie with little dialogue that is really confusing, yet I still consider it better than average.
It is the directing that really saves this film. Director, Mai Tominaga, shows her genius with her first feature length picture. It really does look like EVERY SINGLE SHOT is thoroughly thought out. The films uses some CG effects and the transitions from real life to these animations are smooth. The film also employs a catchy jazzy soundtrack and some nice sounds. Ayu Kitaura's amplified voice sounds awesome. "Damn. I have to knit it all over again!"
The acting is great, and I can guess we can thank the directing for that. As I mentioned before, the characters do have very little lines, but that barely hurts this film.
There is just something about this flick that keeps you watching. If only the story made more sense.
Watch this and let me know what you think.
posted 4 days ago -
I recommend you see...
Robot Bastard!
by LurpleSometimes something immensely cool passes you by. Years later you discover it and you feel like you're the last one to know, and you wonder how you missed it. Robot Bastard! is like that.
Robot Bastard! is a short film by Rob Schrab, who has gone on to do things you probably have heard of. Most recently he worked on the film Monster House and has been writing for the Sarah Silverman show.
The robotic bastard in question is a secret agent in some sort of crazy futuristic yet retro universe.While the sets and costumes are undeniably low-budget, they have a great style that goes well with the goofy over the top theme.
If you like weird, goofy sci-fi stuff and haven't seen this I highly recommend checking it out. You can grab a copy for free off Rob Schrab's website.You might get a kick out of this if you haven't seen it. There's a link to the website in my review.
posted 11 days ago -
-
-
What a load of crap! I had to force myself from pressing the stop button.
posted 33 days ago -
-
-
I recommend you see...
![[Rec]](http://content6.flixster.com/movie/10/52/28/10522876_tmb.jpg)
[Rec]
by JustinI'll admit that I am not a huge fan of these hand held camera movies, let alone horror movies. But ... director and writer Jaume Balagueró along with the help of Paco Plaza are f****** geniuses. Forget Cloverfield this is a movie to remember.
The basis of the story is a news crew spending the night with the fire department to film an episode for a television show. This is the first successful part of this film. It is a news crew, which means that the camera work is more professionalized. Less shakiness is always good.
Another good element of this film is the runtime. It runs at only 75 minutes, but this is perfect. It doesn't drag itself on and on. The first 10 minutes or so is more or less character development for the lead, Angela. The rest of the film takes place in a small multistory apartment building. Once you reach this setting, you get a small taste of the zombie carnage before the film slows down for the next 20 minutes, which lets you get to know the residents of the building. This may not sound all that great, but it is all worth it because the last half an hour is superb.
The suspense is great and you WILL jump out of your seat multiple times. Even when you know something is going to happen, the fear factor still hits you.
I still don't like the fact that the camera man, who they never show, is intent on carrying the camera all over the place, but the story does a nice job at making it feel like the camera is needed. Especially at the ending. Speaking of the ending, it is a little coincidental, but it is interesting and damn entertaining.
The acting is how it should be with people screaming. The lead, Manuela Velasco, is fantastic and some of the supporting characters are good as well.
Good cinematography and sound make this a great "one camera" movie. I highly recommend this to suspense and horror fanatics.
I’m curious to know if you will like this more than Cloverfield.
posted 44 days ago -
I recommend you see...
Kontroll
by PedroSzofi: "[at subway vending machines] Nice place. Come here often?
Bulcsú: Only when I really want to impress a girl."
An enormous crowd pleaser at several 2004 film festivals throughout the world - picking up the "Prix de la Jeunesse" (Award of the Youth) at Cannes - and young Hungarian-American Nimród Antal's film début, Kontroll is one of the most creative and original films I've ever seen. Part black comedy, part action/thriller and part allegorical tale of redemption, it mixes elements from standard American urban thrillers with the feverish, dreamlike distortions of classic Eastern European art cinema, played out in the labyrinthine tunnels of the Budapest subway system, the world's second oldest.
There's something very appealing and appropriate about subway systems as an outsider film location, underworlds in which those who do not fit in or have rejected the values of society above can feel at home, subsections of society in which small pockets of precariously maintained civilisation are connected by a large network of dark tunnels that could house just about anything, areas into which no sane person would venture without the protection of a big metal underground train. Antal takes full advantage of that evocative locale by setting all of Kontroll down there - shooting the entire film at night in the stations and tunnels of the Budapest Metro - with the world outside and above never glimpsed, except as a distant hazy light just above the topmost stairways. The result: a highly exciting, visually alive thriller that stands as one of the most promising débuts in recent film history.
Kontroll opens with a message from the director of the BM, stating that the film we are about to watch is a work of fiction - which, therefore, has to be seen symbolically and not literally - and that the employees of the Metro don't behave as shown. We then understand why. According to Antal's vision, the Budapest subway system is the kind of place where people threaten each other with Gypsy curses and dirty syringes, amateur welders work on the rails, and even the white-collar business travellers don't bother buying a ticket. Administered by a Kafkaesque bureaucracy, the system employs five-member crews of ticket collectors - controllers - to ensure law, order, and proper payment of fares.
This is the story of one group, an unkempt unit already on probation for breaking the rules. There's the leader - our protagonist - the mysterious and damaged Bulcsú (Sándor Csányi) who never goes above ground, the elegant and middle-aged Professor (Zoltán Mucsi), the belligerent, slightly insane Muki (Csaba Pindroch), Lescó the narcoleptic (Sándor Badár) and the new boy, Tibi (Zsolt Nagy). They're the kind of group fused together by foul working conditions, general anarchy, and the hate of the general public. They're also the kind of guys who routinely wake up smeared with blood, ketchup, or something worse, and it's somewhat normal for them to walk through a door into a fight with pipe-wielding, face-painted hooligans. (The existence of these gangs is never explained; they're just there.)
Bulcsú's motley crew are constantly faced with public contempt, erupting hostility, wild chases and violence on their daily rounds - complicated by the insolent cheats (including their nemesis, a fast punk called "Bootsie" who wears a CD headset and often sprays paint in the controllers' faces); the callous indifference of their subway system bosses; the contempt of a rival, slicker group of inspectors; and the assaults of a mysterious, hooded serial killer who has been terrorizing the system, randomly pushing passengers off the platforms into the paths of oncoming trains.
One of the problems I have with leading characters in many Hollywood films is that, even those in the most grubby and punishing jobs, don't look like the people who actually carry out these tasks, but good-looking actors pretending to be them. In Eastern European cinema the opposite occurs. There's not a face in Kontroll that doesn't look like it has wandered in from the back streets of Budapest, and the film is all the better for it. Hollywood relies on the recognition factor for character engagement - oh look, it's Tom Cruise, I know him, therefore I know the character - but in Kontroll you engage with the characters in part because the faces so perfectly fit. You feel you know them precisely because, in a way, you do - you've met them, worked with them, are related to them. Perhaps you even are them.
It helps, of course, that they are genuinely funny people, or at least funny to us - they have a somewhat negative world view arising from working in a largely thankless job that offers the thin illusion of power to those who would otherwise never command it. Their authority is tenuous at best - the controllers are identified only by a simple armband pulled over their regular clothes, their slovenly attitude and scruffy appearance making it all too easy for those they confront to ignore, argue with or even attack them. It is these very confrontations that provide some of the funniest moments, and if a couple of these groan under the weight of painful stereotyping - the smiling, camera wielding Japanese family, the outrageously camp predatory gay - many of the others are inventive and wittily handled, and in one case involving a syringe and a saw, borderline surreal.
The great unspoken question of the film is this: why is Bulcsú down there? He doesn't just work in the subway - as we find out in the opening scene, he lives there 24 hours a day, sleeping on benches and empty platforms after the last train stops running. In one scene, we find that Bulscú has left a job - not named, though his former colleague's words and possessions make either architect or mathematician seem the most likely possibilities - at which he was quite good, and which surely was more profitable than his current job.
Antal's messages are so subtle you don't even notice they're under your skin until they're already there. Bulscú relishes the loner mentality he can cultivate in the subway, and Antal's crafty direction heightens that feeling of isolation to the point where it becomes incredibly ominous. The contradiction between the closed-in world of the underground and the wide-open way in which Antal frame it is a brilliant representation of Bulscú's mindset - the underground may be a finite network, but to him it represents more freedom than the surface world ever did.
He has a different take on the underground. For him, it's not just a workday hell, as it is for his co-worker-mates; it's a source of magic, adventure, athletic triumph (he's a crack tunnel-racer) and romance. Bulscú's world-view starts to shift with the introduction of Szofi (Eszter Balla), a pretty, weird girl who rides the subway dressed in a teddy-bear costume. Representing the good side of human nature, she is a stark contrast to the faceless killer's random attacks. In the end, Bulscú must come face to face with both.
Many people have described Nimród Antal as the Hungarian Danny Boyle. With the film's slick, jazzy aesthetic and high beats per minute, it's relatively easy to notice how Kontroll resembles Trainspotting - the weird little guy (Badár) even looks a little like Robert Carlyle's Begbie - although it also reminds Doug Liman's work. Point is: Antal has talent. And he obviously knew where to draw inspiration from. As for the acting, Sándor Csányi is a marvellously magnetic actor, and he inhabits the whole Brando-Dean-De Niro-Pacino persona with impudent skill and deep inner emotionality. The ensemble is a fine one too, salty character actors with pungent faces and lines. But the truest star of Kontroll, of course, is the Budapest underground itself, which I very much hope to visit one day.
Vilmos Zsigmond's apprentice DP Gyula Pados' fulsome cinematography makes of the underground sets the kind of textured iconographic landscape of Wim Wenders' late American films. A dream (paced by electronica group Neo's rowdy, fantastic score), in which Bulcsú finds himself crawling through something like an endless vaginal tunnel, is the moment when Kontroll comes fully alive: it's the juncture between metaphor, craft, and narrative - and for almost all of its final hour, the film maintains an unbelievably high level of invention and insight. It's a great Sci-Fi piece, a razor-sharp satire, a horrific thriller, a lyrical fantasy and an impressive calling card for an emerging Hungarian cinema. Fantastic!Couldn't stop noticing how only 5 out of my 186 friends have seen this film. And how 17 of them rated it (probably without a clue of what they were doing, as always) as 'Not Interested'. Just thought I'd let you know how fantastic and original this film is. If any of you respect minimally my opinion, you'll immediately change those ratings and track it down as soon as possible.
posted 44 days ago -
I saw your review on Postal... its true that he had his own flick pulled from theaters?? Did he ever say why? I remember watching this trailer a long time ago and cringing. SO I can't think of a bunch of reasons it should have been pulled...
posted 47 days ago -
-
1. The ending of Iron Man isn’t exciting.
2. Toilet Boll is serious and that is what I wanted you to see.
posted 58 days ago
View All (315)
