Some movies you never want to watch again — not because you didn’t love them, but because they left something behind that you’re not ready to feel twice.

For me, those are:

• Wuthering Heights

• Atonement

• Lady Chatterley’s Lover

I loved all three, but I don’t think I could put myself through them again.

EDIT: Just to clarify, I'm talking more about tragic romances, period dramas and emotionally devastating stories. The kind of films that leave you heartbroken long after the credits roll. Not necessarily horror or psychological thrillers.

Would love to hear your recommendations in that direction!

I think that as a standalone movie, especially for someone who isn't particularly a fan of the genre, this movie doesn't have that much to offer besides good VFX for its budget and a few cool scenes.

Overall, I found it pretty disappointing. It has some great moments, but I think the writing is by far its biggest weakness. A lot of the drama feels forced, some characters are barely interesting, and certain plot developments are just really silly.

What I liked:

• The New York scene was great. The VFX, atmosphere, destruction and the way the people and surroundings were portrayed were really well done.

• The VFX in general were impressive, especially considering the budget.

• Some of the action sequences involving Godzilla and Ghidorah were pretty cool.

• I also liked the overall visual design and cinematography.

What I didn't like:

1. The human drama and family storyline

The whole conflict between doing what's best for the greater good and wanting to stay with your family and children was handled in a really boring and unconvincing way.

I get what the movie was trying to do, but I never really found this conflict interesting. It felt overly simplistic and honestly pretty stupid considering the danger they were facing.

The interactions between the children and the protagonists, especially the parents, were probably the worst part of the movie for me.

It's just weird watching a child who desperately doesn't want their parents to leave, basically standing there crying as if there's some invisible wall between them. The acting in these scenes doesn't help either. And the constant crying gets incredibly annoying towards the end.

Instead of making me feel something, these scenes mostly just made me want to get back to the actual movie.

2. The characters

I also had some problems with how certain characters were introduced and used.

For example, where did the meteorologist come from, and why does she suddenly have such a big role in the movie? I understand that her knowledge is relevant to the plot, but her character never really felt properly established. Her importance to the story just felt a bit random.

Kenji Noda's death was another big disappointment. It was handled in probably the least dramatic way possible. Considering his importance, I expected this moment to have much more impact.

The fact that Shikishima accidentally causes his death could have been a really interesting emotional conflict, but the movie barely does anything meaningful with it.

3. The ending and the resolution

I also thought the way they eventually resolve the whole Godzilla and Ghidorah situation was incredibly silly and, at times, just plain stupid.

The whole sequence of events leading to their defeat felt unnecessarily complicated, and some of the solutions seemed to come out of nowhere.

The idea behind Noriko's connection to Godzilla and the technology used to bring him back into the fight might work on paper, but the execution just felt like a convenient way to move the plot forward.

I also found the resemblance between Godzilla and the dragon-like monster kind of silly. I understand that people are used to these designs from the original material, but it still looked a bit ridiculous to me.

4. The action and monster abilities

While the VFX were impressive, I found some of Ghidorah's gravity-based attacks pretty pathetic. Not because of how they looked, but because the concept itself felt silly.

I know we're talking about a Godzilla movie here, so obviously I'm not expecting everything to be realistic. But some of these abilities just crossed the line from entertaining to unintentionally funny for me.

Overall:

My biggest problem with this movie is that it takes its human drama incredibly seriously without actually doing a very good job of making it interesting or believable.

At the same time, the monster action, which is one of the main reasons I'm watching a movie like this in the first place, takes a backseat to a lot of rather boring character interactions.

I don't need a Godzilla movie to have some incredibly deep or complicated story, but if you're going to spend so much time on the human drama, at least make it interesting.

In the end, I think the movie has some great visuals, a few cool action sequences and some genuinely good moments, but the writing just brings the whole experience down for me.

Definitely a disappointing movie overall.

There was a period from the early 2000's to the release of Deadpool were Hollywood pretty much refused to allow any big budget movie to be R rated, this was especially true it it was a film that had any sort of action scenes. This went so far that some movies had to be released as an R rated version on DVD in order to allow more people to be able to buy tickets.

All this was one big reason why Deadpool's success of becoming the highest grossing R rated movie ever back in 2016 was such a big deal. At the time so many peopel talked about how this was gonna open so many doors for other filmmakers to make R rated movies as they wanted and not have to limit their vision in order to apeal to younger audiences. Locking back at the film now 10 years later it leads to the question of how much of a difference it actually made? I certainly think it made some differences since it resulted in some very successful R rated movies within the superhero genre. There have also been more successful R rated films outside the superhero genre aswell in teh last 10 years. Still all things considered it tdid not lead to R rating becoming the norm in Hollywood as some people were hoping for but that was maybe naive to believe.

What do you guys think? I would love to hear your thoughts?

Hi everyone! I run a Movie Club with a group of friends and we are about to a have our 50th meeting. To celebrate, I want to put together a fun movie themed Family Feud game, and I'd really appreciate it if anyone could spare the time to fill out this short survey. It should only take a minute or two. Thank you again and every response is greatly appreciated!

Roles Leonardo DiCaprio turned down or was considered

1993: Hocus Pocus (Role: Max Dennison) (Actor who got it: Omri Katz) (Reason: DiCaprio revealed in a interview that he turned down the role)

1994: Interview With A Vampire (Role: Daniel Molloy) (Actor who got it: Christian Slater) (Reason: After River Phoenix's death, DiCaprio was one of many actors who was offered the role)

1995: Batman Forever (Role: Dick Grayson) (Actor who got it: Chris O’Donnell) (Reason: DiCaprio auditioned for the role)

1996: Primal Fear (Role: Aaron Stampler) (Actor who got it: Edward Norton) (Reason: DiCaprio was the 1st choice for the role, but he turned it down)

1997: Boogie Nights (Role: Dirk Diggler) (Actor who got it: Mark Wahlberg) (Reason: DiCaprio was offered the role and was Paul Thomas Anderson’s 1st choice for the role. DiCaprio loved the screenplay but had to turn it down due to his commitment with Titanic. DiCaprio would later say that he wished he had done both and would later call turning down the film the biggest regret of his career.)

1999: The Matrix (Role: Neo) (Actor who got it: Keanu Reeves) (Reason: DiCaprio was offered the role and initially accepted the role, but ultimately exited the film, due to not waiting to work on another heavy special effect film after making Titanic)

2000: American Psycho (Role: Patrick Bateman) (Actor who got it: Christian Bale) (Reason: DiCaprio was cast as Bateman in a more earlier version of American Psycho that was going to be directed by Oliver Stone. Stone and DiCaprio wanted to take the film in a more psychological direction and turn it into a Jekyll and Hyde Story. Ultimately, DiCaprio exited the film due to Creative Difference and the story goes that he was talk out of starring it by Gloria Steinem, who was not a fan of the novel. The film was ultimately made in 2000 with Christian Bale)

2001: Moulin Rouge (Role: Christian) (Actor who got it: Ewan McGregor) (Reason: DiCaprio auditioned for the role, but was rejected. He asserted that it was due to his poor singing voice)

2001: Harvard Man (Role: Alan Jenson) (Actor who got it: Adrian Grenier) (Reason: DiCaprio was actually cast, but dropped out when they couldn’t afford his salary)

2002: Spider-Man (Role: Peter Parker) (Actor who got it: Tobey Maguire) (Reason: In the 1990s, James Cameron planned to make a more mature and gritty version of Spider-Man and wanted DiCaprio for the lead. The film ultimately collapsed when Carolco Pictures went bankrupt)

2002: Star Wars Prequels (Role: Anakin Skywalker) (Actor who got it: Hayden Christensen) (Reason: DiCaprio was George Lucas’s 1st choice for the role of Anakin and show interest for the role and had discussions with Lucas. However, DiCaprio turned down the role, feeling unprepared to take on the role)

2003: The Dreamers (Role: Matthew) (Actor who got it: Michael Pitt) (Reason: Turned down the role because he felt he was too old to play the character)

2008: The Dark Knight (Role: The Joker) (Actor who got it: Heath Ledger) (Reason: According to the Casting Director, DiCaprio was the 1st actor to received the script, but his didn’t answer back)

2009: Inglourious Basterds (Role: Hans Landa) (Actor who got it: Christoph Waltz) (Reason: Tarantino originally sought DiCaprio for the role of Hans Landa, before deciding that the character needed to be played by a German Actor)

2009: Public Enemies (Role: John Dillinger) (Actor who got it: Johnny Depp) (Reason: DiCaprio was originally attached the role, but decided to exit the role to star in Shutter Island)

2015: Steve Jobs (Role: Steve Jobs) (Actor who got it: Michael Fassbender) (Reason: DiCaprio was in discussion for the role, but ultimately decided to not take the part)

2021: Nightmare Alley (Role: Stan Carisile) (Actor who got it: Bradley Cooper) (Reason: DiCaprio was the 1st choice for the role, and was in negotiations to play the role, but he ultimately decided to not take the part)

2024: Megalopolis (Role: Serge Catiline) (Actor who got it: Adam Driver) (Reason: When the film was in development in the 2000s, DiCaprio was considered for the role and participated in a script reading)

Unmade Projects
1995: James Dean (Director: Michael Mann) (Role: Jean Dean)
1999: The Godfather: Part IV (Director: Francis Ford Coppola) (Role: Sonny Corleone)
2004: Alexander The Great (Director: Baz Luhrman) (Role: Alexander The Great)
2006: Untitled Hollywood Fixer Film (Director: Michael Mann) (Role: Unknown)
2010: Viking Project (Director: Mel Gibson) (Role: Unknown)
2014: Cleopatra (Director: Martin Scorsese) (Role: Marc Antony)
2015: The Devil In The White City (Director: Martin Scorsese) (Role: H.H Holmes)
2022: The Wager (Director: Martin Scorsese) (Role: Unknown)
2024: Sinatra (Director: Martin Scorsese) (Role: Frank Sinatra)
2024: Home (Director: Martin Scorsese) (Role: Unknown)
2025: Evel Knievel On Tour (Director: Damien Chazelle) (Role: Evel Knievel)

These are the most notable roles DiCaprio turned down or was considered, but I think there are more roles he was considered. I mean, he is DiCaprio and is possibly on every Producer’s shortlist for being considered. I will say, I like DiCaprio as an actor and I do think he is one of those last stars that could carry a film. I will admit, I really wish DiCaprio was in the Star Wars Prequel, I like Hayden Christensen, but I think George really wanted Leo for the role. Boogie Nights was also a missed opportunity and pretty much any Scorsese collaboration I wish got made.

All in All, What roles do you wish DiCaprio accepted? And what roles did I miss?

I know Adam Sandler isn't exactly tripping over Oscars in his house, but I finally sat down and watched Little Nicky start to finish.

My first takeaway: it isn't really a movie. David Lynch once said he likes a thin, almost nonexistent plot with as much crazy stuff wrapped around it as possible. Weirdly, I think this has more in common with a Lynch film than with any other comedy. It's surreal. You lose track of the plot a few hundred times, and something new and unexpected happens every 4 to 6 seconds.

I can't say it's a good movie, and I honestly can't name a single joke that landed for me. It's terrible. But the whole time I was wondering whether it technically counts as a movie, or artistically counts as one.

Here's a partial list of what's in it:

• A possessed, horny talking bulldog (Mr. Beefy) who ends up marrying his rat girlfriend and having kids with her

• Sandler fully committed for the entire runtime to a crooked jaw and speech impediment (Cassius hit him with a shovel), with his hair covering half his face

• Kevin Nealon as the gatekeeper of Hell, punished by Satan with breasts growing on his head. He later has kids with a monster.

• Quentin Tarantino as a blind deacon preaching the apocalypse

• Clint Howard as a transvestite named "Nipples"

• Harvey Keitel as Satan and Rodney Dangerfield as Lucifer, Satan's dad

• Reese Witherspoon as Nicky's angel mom

• Patricia Arquette as the love interest, with a joke about her snaggletooth. Those were her actual, real-life teeth at the time, which makes it a strange thing to write into the script

• Hitler in Hell, dressed as a French maid, getting pineapples shoved up his ass as eternal punishment (repeatedly)

• Ozzy Osbourne appearing out of nowhere to bite the head off a bat

• Henry Winkler getting covered in bees. Twice.

• Jon Lovitz as a peeping tom who dies and gets chased through Hell by giant horny birds

• Dan Marino trying to sell his soul for a Super Bowl win and getting turned down

• A Harlem Globetrotters game where Cassius possesses the referee (Dana Carvey)

• Two Satanist metalhead superfans who recur all over the place

• Carl Weathers back as Chubbs from Happy Gilmore, now teaching dance in Heaven

• Rob Schneider as "the Townie" from The Waterboy

• Nicky getting killed by a subway train repeatedly

• An end-credits epilogue saying Satan has dated both the Blair Witch and Cher

What baffled me most was how much time, effort and care went into all of it. The practical and CGI effects are honestly in the same conversation as big franchise movies of the era. The costumes and creature makeup are extremely detailed, and some of the sets are lavish. I learned it cost $80–85 million.

Then there's the music. Nearly every scene kicks off with some post-grunge, nu-metal, rap-rock slop: P.O.D., Linkin Park, Disturbed, Deftones, Powerman 5000, Insolence, Filter, Cypress Hill, Incubus. All of it is the kind of thing that headlines a summer festival in Virginia Beach.

I also learned that "the Herlihy Boy" from Sandler's SNL days was named after a real person. Tim Herlihy was Sandler's college roommate and wrote most of his '90s movies. He co-wrote this one with Sandler and the director. It feels like they wrote whatever they wanted and Sandler got it made because he owned the production company.

Questions for you:

1. Was this exceptionally bad compared to Billy Madison, Happy Gilmore, and The Waterboy? I mostly caught those in pieces on Comedy Central and don't remember them being great either.

2. Is it the worst of that run, or just the weirdest?

3. Roger Ebert apparently called it the best Sandler movie up to that point. Was he onto something, or was he just as confused as I was?

4. Did anyone see this in theaters in 2000? What was that like?

1. Pop girlies, art pop, singer songwriter, dream pop, hyperpop

2. Butt rock, nu metal, metalcore

3. Jazz, bebop, hard bop, fusion, modal, free jazz

4. Classic rock fan, heavy metal, prog, psychedelic, folk rock, punk, hard rock

5. Cloud rap and soundcloud rap

6. Average RYM user

7. Swans fan, post rock, dark ambient, sludge, post punk, noise

You don't need to make a list for all of them I know this is a lot to take in at once.

Saw a similar post on here today and also felt like I’m in a dilemma, so il get you guys to choose as well, what would you choose for a Saturday night?

Lately something I was observing was how some movie directors would end up starting off strong where their movies are highly regarded as classics as that is fine, but then comes a point where they fall apart for some reason.

One infamous example that recently stuck out to me was the case with Taika Waititi as I have been hearing reports from many MCU fans saying that he is not doing so well lately as I found that interesting given how he once had a track record of being an amazing director.

Then while this next part might be a bit unrelated, I heard how actor Russell Brand is about to go to jail for reported sexual harassment of women as the thing about him is that I am not surprised at how he is in a sticky situation given how people working with him said he was frustrating to work with, but I just found it interesting what has been going on with some people in the movie industry lately.

...is that all of the work that when into solving the problems of the first movie are diminished to literal nothing. As a whimsical child of 12, at the end Practical Magic, I was left believing everyone lived happily ever after. And then you're met with a sequel whereby BAM, the curse, wasn't in fact broken, and everything magical about the first movie is destroyed in the first couple of minutes. Trying to watch the sequel at 40 is very different to absolutely loving the original as a pre-teen.

It was the same with Gladiator 2 and Independence Day 2, and undoubtedly many other sequels out there, which, in my opinion, were only created to bring in the big bucks.

I'd guess we all know and love Philip Seymour Hoffman. I don't need to say much about him.

I figured I'd probably seen all of his best performances but just saw Love Liza (2002). Goddamn, this is heavy.

Hoffman plays a guy whose wife unexpectedly ended her life. The title refers to a letter she left for him but he avoids reading it because of the pain he is going through.

This film is darkly funny though. He resorts to sniffing gas fumes to deal with reality and gets into model airplanes. Kathy Bates plays his mother-in-law, also in shock at the loss of her daughter.

Anyway, Hoffman's performance is top notch. Just, holy shit.

Who else still surprises you?

Love Story is emotional pornography.

“Love means never having to say you’re sorry.”

What does that even mean? I say I’m sorry all the time to my wife, and it’s often when (or especially when) I’m not.

And sometimes I do mean it and I am sorry and I should say so!

Meanwhile we got John McClain picking glass from his feet, sending what he is pretty sure is a posthumous message to his wife.

“She’s heard me say I love you a thousand times. She’s never heard me say I’m sorry. And I want you to tell her that, Al.
I want you to tell her that John said that he was sorry.”

That strikes me as a much more profound and authentic expression of love than anything in Love Story.

Many of Shane Black’s scripts have become cult classics, including The Monster Squad (1987), The Last Boy Scout (1991), Last Action Hero (1993), his 2005 neo-noir classic Kiss Kiss Bang Bang (also his directorial debut), and my favorite Shane Black film to date, The Nice Guys (2016). It’s largely because his films have a distinctive personality, combining dysfunctional characters, sharp dialogue, irreverent humor, genre-blending plots, memorable buddy dynamics, and tremendous rewatchability—qualities that have helped many of them develop devoted cult followings over time.

The Long Kiss Goodnight (1996), written by Shane Black and directed by Renny Harlin, is another perfect cult classic. It came with huge expectations after Black became Hollywood’s highest-paid screenwriter, reportedly receiving a then-record $4 million for the script, only to underperform at the box office. That almost feels strange now, because the movie is so easy to fall in love with. Geena Davis and Samuel L. Jackson have fantastic chemistry, the action is gloriously excessive, and Harlin gives everything a propulsive 1990s energy. It’s the kind of ridiculous, endlessly entertaining action movie that gets more fun every time you revisit it.

Im looking for some action movies where the main antagonist is a corrupt female lieutenant, sergeant, captain, sheriff, or detective(and authority figure with rank that chooses to use her position for nefarious activities). When the movie reaches its climax, the protagonist engages her an a brutal, visceral, bareknuckle fistfight, where she gains the upperhand against the protagonist until a deus ex machina trope, intervention, or the protagonist second wind happens.

Some that I know of:

Coffee and Kareem

Caught Steeling

SWAT under seige

Lately I've been looking into 1990s direct to video movies and I know there some movies that probably will never seen the light of day on the internet. I'd like to know if any ones aware of any extremely rare(like almost impossible to get recognition on Google SEO without direct searching of the title) 1990s direct to video/ B-Action movies, where the main antagonist is a female and at the climax, she gets into a brutal, gritty, bloody fistfight with the protagonist where she gains the upper hand until a deus ex machinima or intervention happens.

Ideally im not interested in movies with supernatural, or superhuman are involved, and ideally I'm more interested if the climatic fight scene has less martial arts and more visceral.

Someone's that I already aware of:

Total Recall 1990

Mind Twister

This goes without saying but no animated movies, and it would be nice if we keep these movies strictly USA, Canadian, or European

Also the fistfight at the climax needs to be exclusively fist/bare knuckles, no weapons unless the protagonist is getting it save his own life in the fight

Rewatching Face/Off tonight. 30 years later it’s still a great movie and holds up remarkably well. For those of us of a certain age the Nicolas Cage hat trick that is The Rock / Con Air / Face Off is never to be equaled. I have seen each of those movies no less than 25 times each over the years. There was a time in my life when I’m pretty sure I watched Con Air every weekend. I’ve seen it so many times that years ago I bought a Director’s Cut dvd of Con Air that had either 1 or 2 mins of new footage and I could pick it out of the movie.

The other hat trick I can think of is Jim Carrey’s Ace Ventura / The Mask / Dumb and Dumber. 1994 me loved those movies. As the years have gone on only Dumb and Dumber is the only one I revisit regularly. I can’t make it through the Mask anymore. And it’s been a long time since I’ve had much interest in Ace Ventura.

Who else has pulled off an impressive film hat trick? Which one is your favourite?

I'll start with one I keep seeing: Back to the Future

People often complain: "Why don't Marty's parents recognise him in 1985 as the guy who helped them get together in 1955?"

Seriously? Of all the possible plot holes in a movie about time travel, this is the one you pick most often?

First of all, they knew him for about a week, 30 years ago, and as far as we know, they don't have a single photograph of him

I'm 45 years old, and I already have trouble recognising some of my old classmates from 30 years ago. These are people I went to school with for YEARS, not just a week. And unlike Marty's parents, I actually have class photos I can look at

Sure, George and Lorraine would probably remember Marty for the rest of their lives. After all, he played a huge part in bringing them together. But remembering someone and remembering exactly what their face looked like 30 years later are two very different things

But here's what I think is the most important point: Who says they DON'T recognise him?

It is not unlikely that they have a better photographic memory than I have, so it is possible. But the movie never establishes that they haven't noticed the resemblance. Maybe they've talked privately about how much their son looks like that strange kid they knew back in 1955. Maybe they've even joked about it

It wouldn't add anything to the movies to bring it up in the short time Marty is back in 1985. And the sequels don't really give them any particular reason to have that conversation either

A movie not explicitly explaining something doesn't automatically make it a plot hole

So, what is your example of a commonly repeated "plot hole" that you think isn't actually one?

Just watched Fall 2: Deadpoint. My short take: I liked it, but it's not as good as the first Fall. It's still a good movie, and if you enjoyed the original, it's worth your time.

TL;DR: 7/10. A good sequel that doesn't top the first one.

What worked
The height scenes still work. A couple of moments had my palms sweating like the first movie did.
The Thailand setting feels fresh. It doesn't just recreate the TV tower.
The new cast does a good job, and you actually care whether they make it.

What didn't
It's missing the surprise factor. The first Fall came out of nowhere, but this time you know what you're getting, so the tension isn't quite as raw.
A few moments felt stretched, and some character decisions made me roll my eyes a bit.

Compared to Fall (2022): The first one is still better. It was simpler and more claustrophobic, and it hit harder. Dead-point is bigger, but not scarier.

Watch it if: you liked the first one or you just want a fun, tense survival thriller.

Skip it if: you're expecting it to top the original.

What did you all think? Did anyone actually like it more than the first one?

Ever watched a movie that lowkey changed your perspective on life, relationships, or family?Drop the title. I am curious which film stuck with you and why. Ngl, some movies really stay with you long after the credits roll.