ViewtifulJC
Banned
Last I check, The Last Goodbye Peer Pressure Rating™ was at least a 11/10
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Movies You've Seen Recently |OT| May 2015
- Thread starter Charles Foster Kane
- Start date
- Status
Last I check, The Last Goodbye Peer Pressure Rating™ was at least a 11/10
Mad Max: Fury Road
One of the best action films I've seen in ages but unfortunately I had hyped myself a little bit too much and didn't match my greater expectations. The costume and character designs are some of the best. The cinematography was gorgeous. However the thing that most impressed me so much was the immense world building. So much wasn't said but shown and inferred. Great filmmaking all round.
One of the best action films I've seen in ages but unfortunately I had hyped myself a little bit too much and didn't match my greater expectations. The costume and character designs are some of the best. The cinematography was gorgeous. However the thing that most impressed me so much was the immense world building. So much wasn't said but shown and inferred. Great filmmaking all round.
I have a feeling the mom/dad stereotypes are one scene. That said, if you're anti-Pixar, yeah, it might not be your deal, especially since you didn't list either of Docter's previous films. Oh well, to each their own.
Those dad/mom stereotypes might be boring on their own, but I thought they were so much fun with the movie's gimmick. The premise is so awesome, it's going to allow Pixar(whoever' working on it, Pete Docter?) to put some pretty funny, cute, and emotionally memorable sequences together. Really excited to see Inside Out.
My review of Tomorrowland, in gif form:
Tomorrowland is a lot of things, and it even gets as far as tricking you into thinking it's going to be good. After kicking off with establishing a framing device that is supposed to act like cute banter between our heroes and comes off as both irritating and giving away that things turn out pretty alright for them in the end, the movie that probably should have been made begins, as we find out about back story of the male third of the equation. As a kid, Frank is someone who simply refuses to give up on his dreams of being a great inventor, even after Hugh Laurie disapproves of his optimism (I think Hugh Laurie has a character name in this, but he's not asked to do much more than be House with his native accent; nobody ever wants funny Hugh Laurie in these things) and sends him on his way. Thankfully for Frank, his young daughter Athena (Raffey Cassidy, who rises above the material and remained a constant bright spot) digs that sort of attitude, and gives him a pin to our titular locale, where things we consider impossible and extraordinary are a part of the every day lives of the people that invent them. It's clear that Brad Bird really felt strongly about this part of the film, as it does a really great job of evoking the future that we thought we might have been getting back in the 60s, with small details that feel like they came out of a sci-fi magazine illustration, as well as feeling like a brisk little adventure itself, evoking the likes of even The Rocketeer, with its jetpack hijinks and aw-shucks enthusiasm. After Frank falls for about a mile and gets his invention to finally work to save his life, wow the citizens of Tomorrowland and impress Hugh Laurie to let him stay, you feel like you watched a really great little mini-movie in of itself.
And then the framing device kicks in again, and everything stops being so fun and starts getting incredibly stupid.
Feeling like the first draft of a screenplay that was inexplicably fast tracked right into full production the moment the pen was set down, Tomorrowland quickly becomes a frustrating mess of good intentions looking for much better execution that isn't on display on many levels. As I alluded to, this film has a teeny bit of a problem with anyone that has any dialogue, starting with our principle "heroine" in Casey. The quotations are intentional, as Casey feels far less like a heroine (or a human being, really) and more of a blatant audience-insert to have things explained to her, despite being told how bright she is herself (which really doesn't add up to much, other than having the money to buy both bolt cutters and one of those app-controlled RC copters, and helping her NASA engineer father put a wire in its right place); imagine Ellen Page's character in Inception, but being relayed as the A-plot. I don't blame Britt Robinson for struggling with the character, since I get the feeling that Brad Bird didn't realize just how underwritten she was until it was far too late, and had to work with what they had. George Clooney doesn't fair much better, as it seems like Bird told him to play the adult Frank like a silver fox version of Oscar the Grouch, and while the story does go to great lengths to explain how Frank got the way he did, Clooney never fully turns off the sourpuss, which makes his character fairly unlikable even after you're supposed to be on his side from a narrative standpoint.
The film also has what we like to refer to as some tonal inconsistencies. The first big action scene involving Casey involves a sci-fi memorabilia shop, which starts as a nice bit of name-checking of other sci-fi franchises, prominently featuring Star Wars props, because CORPORATE SYNERGY, which then gets really wacky when Keegan-Michael Key and Kathryn Hahn show up as the shop owners, and then it starts getting weird as it tries to balance instilling a sense of real danger in the fight scene that ensues with just how light they're still trying to keep the tone, and then more Star Wars props start getting used as weapons. It's really hard to get a read on the entire situation as it's never really quite sure what it wants to be at any given moment, which is amplified by an even more egregious followup in which the one-joke threat element to the film is introduced and start straight up murdering people. In theory, vaporizing people is about the least "harmless" way of offing someone, but Bird stages those moments in very unsparing detail that leaves no doubt as to what happens and never comes off as being anything less than showing people dying horribly. Even later on, as Casey manages to defeat one all by herself, it feels jarring to see her go to town on it, especially as it goes well past the point where you could have just accepted it as just an extended gag and starts feeling gratuitous. The film often tries to have it more ways than just two when it comes to how the tone can come across, and it never does a good job of convincing you of its ability to juggle them.
The story itself is also catastrophic. While it's ultimately going for a good message to instill upon the audience, the way it gets there often defies logic and can feel contradictory from one moment to the next. I won't go into spoilers, but I feel like the film trying to maintain a quick pacing does more harm than good, as justifications for actions rarely get more than a throwaway line that one can almost immediately recognize as being idiotic, and the underdevelopment of certain elements come dangerously close to validating the opinions of people who find Bird's thematic exploration across his body of work as being too overtly Randian. It's tough to know who to blame here: conventional wisdom would tell me that Damon Lindelof simply Lindelof'd his way into another mess that won't get him on a blacklist, but so much of the film feels like what you'd expect out of Bird's work that it's really hard to shake the feeling that he was looking for little more than a justification of a couple of good ideas that sprung up from the concept of what it would be like if Tomorrowland was a real place for innovators and not just a theme park.
That's the real tragedy of the film, because the good bits are really good. Outside of the aforementioned opening scene (sans chatting head bookends), Bird stages some good scenes outside of that, including Casey's first real experience with Tomorrowland and a nice emotional climax that finally gets Clooney out of his trashcan for some long overdue but earned sympathy. It also finds some fun ways of integrating the real world theme park aspects into the proceeding, including a cute gag involving a different ride. Bird's typical technical prowess is also on display, which is always a welcome sight. But it's hard for me to recommend this wholeheartedly to anyone without going through a list of caveats a mile long, and only the morbidly curious should pursue looking into the film. I don't hate the film, but I'm shocked at how much I don't like about it.
Tomorrowland is a lot of things, and it even gets as far as tricking you into thinking it's going to be good. After kicking off with establishing a framing device that is supposed to act like cute banter between our heroes and comes off as both irritating and giving away that things turn out pretty alright for them in the end, the movie that probably should have been made begins, as we find out about back story of the male third of the equation. As a kid, Frank is someone who simply refuses to give up on his dreams of being a great inventor, even after Hugh Laurie disapproves of his optimism (I think Hugh Laurie has a character name in this, but he's not asked to do much more than be House with his native accent; nobody ever wants funny Hugh Laurie in these things) and sends him on his way. Thankfully for Frank, his young daughter Athena (Raffey Cassidy, who rises above the material and remained a constant bright spot) digs that sort of attitude, and gives him a pin to our titular locale, where things we consider impossible and extraordinary are a part of the every day lives of the people that invent them. It's clear that Brad Bird really felt strongly about this part of the film, as it does a really great job of evoking the future that we thought we might have been getting back in the 60s, with small details that feel like they came out of a sci-fi magazine illustration, as well as feeling like a brisk little adventure itself, evoking the likes of even The Rocketeer, with its jetpack hijinks and aw-shucks enthusiasm. After Frank falls for about a mile and gets his invention to finally work to save his life, wow the citizens of Tomorrowland and impress Hugh Laurie to let him stay, you feel like you watched a really great little mini-movie in of itself.
And then the framing device kicks in again, and everything stops being so fun and starts getting incredibly stupid.
Feeling like the first draft of a screenplay that was inexplicably fast tracked right into full production the moment the pen was set down, Tomorrowland quickly becomes a frustrating mess of good intentions looking for much better execution that isn't on display on many levels. As I alluded to, this film has a teeny bit of a problem with anyone that has any dialogue, starting with our principle "heroine" in Casey. The quotations are intentional, as Casey feels far less like a heroine (or a human being, really) and more of a blatant audience-insert to have things explained to her, despite being told how bright she is herself (which really doesn't add up to much, other than having the money to buy both bolt cutters and one of those app-controlled RC copters, and helping her NASA engineer father put a wire in its right place); imagine Ellen Page's character in Inception, but being relayed as the A-plot. I don't blame Britt Robinson for struggling with the character, since I get the feeling that Brad Bird didn't realize just how underwritten she was until it was far too late, and had to work with what they had. George Clooney doesn't fair much better, as it seems like Bird told him to play the adult Frank like a silver fox version of Oscar the Grouch, and while the story does go to great lengths to explain how Frank got the way he did, Clooney never fully turns off the sourpuss, which makes his character fairly unlikable even after you're supposed to be on his side from a narrative standpoint.
The film also has what we like to refer to as some tonal inconsistencies. The first big action scene involving Casey involves a sci-fi memorabilia shop, which starts as a nice bit of name-checking of other sci-fi franchises, prominently featuring Star Wars props, because CORPORATE SYNERGY, which then gets really wacky when Keegan-Michael Key and Kathryn Hahn show up as the shop owners, and then it starts getting weird as it tries to balance instilling a sense of real danger in the fight scene that ensues with just how light they're still trying to keep the tone, and then more Star Wars props start getting used as weapons. It's really hard to get a read on the entire situation as it's never really quite sure what it wants to be at any given moment, which is amplified by an even more egregious followup in which the one-joke threat element to the film is introduced and start straight up murdering people. In theory, vaporizing people is about the least "harmless" way of offing someone, but Bird stages those moments in very unsparing detail that leaves no doubt as to what happens and never comes off as being anything less than showing people dying horribly. Even later on, as Casey manages to defeat one all by herself, it feels jarring to see her go to town on it, especially as it goes well past the point where you could have just accepted it as just an extended gag and starts feeling gratuitous. The film often tries to have it more ways than just two when it comes to how the tone can come across, and it never does a good job of convincing you of its ability to juggle them.
The story itself is also catastrophic. While it's ultimately going for a good message to instill upon the audience, the way it gets there often defies logic and can feel contradictory from one moment to the next. I won't go into spoilers, but I feel like the film trying to maintain a quick pacing does more harm than good, as justifications for actions rarely get more than a throwaway line that one can almost immediately recognize as being idiotic, and the underdevelopment of certain elements come dangerously close to validating the opinions of people who find Bird's thematic exploration across his body of work as being too overtly Randian. It's tough to know who to blame here: conventional wisdom would tell me that Damon Lindelof simply Lindelof'd his way into another mess that won't get him on a blacklist, but so much of the film feels like what you'd expect out of Bird's work that it's really hard to shake the feeling that he was looking for little more than a justification of a couple of good ideas that sprung up from the concept of what it would be like if Tomorrowland was a real place for innovators and not just a theme park.
That's the real tragedy of the film, because the good bits are really good. Outside of the aforementioned opening scene (sans chatting head bookends), Bird stages some good scenes outside of that, including Casey's first real experience with Tomorrowland and a nice emotional climax that finally gets Clooney out of his trashcan for some long overdue but earned sympathy. It also finds some fun ways of integrating the real world theme park aspects into the proceeding, including a cute gag involving a different ride. Bird's typical technical prowess is also on display, which is always a welcome sight. But it's hard for me to recommend this wholeheartedly to anyone without going through a list of caveats a mile long, and only the morbidly curious should pursue looking into the film. I don't hate the film, but I'm shocked at how much I don't like about it.
Discotheque
Banned
Great but Id put it under sopranos, wire and mad men tbh, rome as well maybe
RastaMentality
Banned
Pixar is in the position where their brand power is so sizable that they have the creative discretion to do whatever story they want as long as its still PG. I don't know why they haven't taken hold of that new power bc they don't have to pander to children as much and they can let go of a lot of those animated tropes.
kurisu1974
Banned
Au revoir les enfants was amazing, great war story, wonderful child actors... It was only my third Louis Malle film, and I already absolutely love two of them (this and Pretty Baby, wasn't that enamored with Black Moon). Need to watch more, anyone got a suggestion?
Selma was... slow? I could appreciate what they were going for, but man this worked as valium on me.
Selma was... slow? I could appreciate what they were going for, but man this worked as valium on me.
BaronLundi
Member
Ascenseur pour l'échafaud, Lacombe Lucien, My dinner with Andre, Murmur of the Heart (not necessarily in that order and I haven't seen all his filmography) should probably go on your watchlist if you're interested in him.
kurisu1974
Banned
My dinner with André was on the radar already, and I was just reading the wiki for Ascenseur pour l'échafaud and it seems amazing too. Thanks! You have a favorite among all those you've seen?
BaronLundi
Member
Well not really since I haven't watched them in a very long time and I'm wouldn't be sure to be in agreement with myself.
Au revoir les enfants made a lasting impression on me. I saw it when it came out (I was 10) and it resonated quite strongly for historical and personal reasons.
Ascenseur was my entry point to Miles Davis' music so I remember it extremely vaguely but very fondly.
I should rewatch them all.
Boyhood was cute but forgettable. It doesn't mark me, but it was interesting to see a kid grow up is quasi real time. That gimmick is belied by the snappy pacing (because 12 years is a long time to squeeze into 3 hours), and the main character just being an average kid. I'm fine with the film only serving as an exercise in comparing and contrasting with my upbringing, but I certainly feel no drive to see Boyhood again.
SpaceHorror
Member
I'd like to add The Fire Within.
I really need to watch Au Revoir Les Enfants again. It had a hell of an affect on me the first time.
kurisu1974
Banned
Well I found three out of those five available to me (Dinner, Elevator and Murmur), so I'll start with those, thanks you guys!
SpaceHorror
Member
The War Wagon 3/5 - John Wayne and Kirk Douglas western about them trying to take down an invincible wagon that carries gold illegally taken from Wayne's property. The first part of the movie is really fun, especially the banter and veiled threats between Wayne and Douglas, who have good chemistry. However, once the crew for the job is corralled they don't really do anything for a while, just kind of hang around in various locations until it's time to start preparing for the job again. I'm sure there would be a lot of waiting around for a job like this, but it isn't very compelling to watch. When things start moving again there is a pretty good scene that involves stealing nitroglycerin, with Wayne amusingly distracting the guards at gunpoint by telling them he has come back to his ranch for a raggedy bundle of clothes. However, the climactic show down against the war wagon is a bit of a let down.
Overall, it's a fun western, but also feels like one from the end of an era, as it was released after Sergio Leone's Man with No Name Trilogy with Sam Peckinpah's The Wild Bunch arriving two years later.
For a supposedly invincible war machine it doesn't do much but kill a bunch of Native Americans unfortunately serving as canon fodder. Wayne, Douglas, and their team come off a bit too cleanly, taking down the wagon with ease. For something that is built up from the opening credits on it should have been more exciting, injected with more danger, but their plan works flawlessly and even the last remaining guards are killed for them by the villain.
User 479360
Banned
Lone Survivor - The story behind the movie is quite interesting, and made for a bit of a teary finale. However, the movie itself had some issues. It was okay overall, though.
Baron Von Beans
Member
First time posting here, but....I watched Chappie last night. I thought it was going to be about humans vs the uprising of AI...or normal robots vs Chappie and what he means for their kind....or Chappie leading the bots in a revolt against the diabolical corporation running all the police bots.
What I got was
I will say though, I loved Chappie himself, and his behaviors as he was learning. I can't hate him for having horrible parents. The way he was portrayed was done rather well I thought. Plus, Sharlto Copley is fantastic.
What I got was
a movie where Chappie is built near the beginning of the movie, but then used by terrible people, and brought up in their terrible ways. The whole movie I was near screaming at the screen for the misuse of that tech, though, technically they were doing what it was made to do...they were teaching and it was learning. But those gangsters could never comprehend what a marvel of science they have living among them...by the end I was hoping that Hugh Jack-Man would just obliterate everyone, except the scientist - the "maker", and Chappie. The end of the movie pretty much has the bad guys becoming immortal in the aspect that the female will be put into a robot, and in time, so will Ninja. Which is terrible, because they are awful people.
I will say though, I loved Chappie himself, and his behaviors as he was learning. I can't hate him for having horrible parents. The way he was portrayed was done rather well I thought. Plus, Sharlto Copley is fantastic.
The girl wasn't that bad a person though, and one thing I look on the bright side with that movie is that the beginning where scientists are talking about how Chappie "changed everything" implies that their immortality-through-robots scheme went public after the movie ends, and there's no way the world would let Ninja go through what the girl and Dev Patel did.
I don't know, I liked the movie overall but yeah, Ninja rubbed me the wrong way entirely.
PassiveObserver
Member
Dead Ringers was vintage Cronenberg, even though at the time it was considered a more grounded departure.
The Skeleton Twins was no bueno, but I liked seeing Wiig and Hader being given the opportunity to stretch a little bit.
The Skeleton Twins was no bueno, but I liked seeing Wiig and Hader being given the opportunity to stretch a little bit.
SuperInuit
Member
¯_(ツ
_/¯ Mad Max: Fury Road - Two hours of pure holy shit goodness. Wonderful world building and characterisation, utterly insane stunt work. Loved the editing too - everything flowed very, very nicely and never felt jarring. Undercranking everywhere too, which is glorious. Love that effect. Perhaps this is the greatest Mad Max thus far purely in terms of world building, felt like something which was polished to a mirror shine before entering production. Absolutely loved it.
Thanks to those people who suggested Plex in my thread about media management - it's amazing. Got a nice little collection of about 180 films that were physical, now all nice shiny and digital.
Anyway, watched Inside Llewyn Davis last night. Knew very little about it, but had heard it was one of the Coen Brothers' weaker films. Well, even a weak Coen Bros. film has to be pretty good, right?
It was massively different from what I was expecting. I can't lie, I loved it. Very little happened, and the film was almost neurotically internal, but with such a soulful asshole at the centre of it putting in such a strong performance, and those songs... Damn if it didn't hit home with me.
As a story? Not so good. As a portrait of both a man and a particular place in time? Fantastic. I did think the little
'cameo' at the end was weird. Was that just an allusion to the guy and how the line between making it big and, well, not is so thin or was it meant to be him?
Anyway, watched Inside Llewyn Davis last night. Knew very little about it, but had heard it was one of the Coen Brothers' weaker films. Well, even a weak Coen Bros. film has to be pretty good, right?
It was massively different from what I was expecting. I can't lie, I loved it. Very little happened, and the film was almost neurotically internal, but with such a soulful asshole at the centre of it putting in such a strong performance, and those songs... Damn if it didn't hit home with me.
As a story? Not so good. As a portrait of both a man and a particular place in time? Fantastic. I did think the little
Bob Dylan
who says that? It's one of their best. I'm not entirely sure on what the "story" versus "portrait" distinction you're making is, because the film is a beautifully melancholic look at failing to process the past.
Baron Von Beans
Member
I can see the
going public thing, yes, but I think it would be after Chappie helped his "parents". I dunno. That woman was definitely bad though...at the beginning, she was threading murder just as much as the others. She seemed to be just as deep into the bad lifestyles as the other two, but she dropped it all to act as a mother. I felt just about every one was not that great of a person. Even the scientist, to some degree, but he had no say throughout almost the entire movie.
We can def agree on certain points for sure.
apparently the best Italian movie out of Cannes is an American one: The Other Side sounds tremendously interesting, a documentary in the vein of Frederick Wiseman's best works with Michael Moore's gusto for editing and storytelling . Can't wait for it to come here
I really loved the prolonged battle in the middle of that film. One of my favourite war scenes. It was jut so intense and hopeless and painful looking the way they got shot to pieces bit by bit. The beginning and end not so much though.
those are kinda two things i don't really associate with moore?
My dad took me to see Lone Survivor at the theater when it came out. Just had to look it up to make sure that was the one I was thinking of. The movie was meh, all around. My dad loved it but something about it was very forgettable hence needing to make sure I'd actually watched it. I may not have been in the mood to see it though.
Kotetsu534
Member
Watched Pinocchio for the first time in several years tonight. I had forgotten just how modern it feels - Jiminy talks directly to the viewer as he narrates the story, giving it a modernist edge that keeps the drama alive despite its episodic plot; the animation of the characters takes complete account of their weight and momentum so they all engage and appeal (at one point, when Jiminy is underwater, this is relayed directly as he finds his rock won't hold him to the bottom of the sea). The songs are simple, earnest, restrained, and tautly written - the elements of timeless and universal film.
But Pinocchio is never in danger of sliding too far in to saccharine sentimentality - the conniving Honest John, the nasty Stromboli and the coachman all bring peril and temptation to bear, and once they arrive on the scene, the palette abandons the bright oranges and browns of Gepetto's house for dark and dangerous blacks and blues. Indeed, it's about as consistently dark and melancholic a Disney feature as could exist - at times it stretches in to straight horror imagery, as when the delinquent Lampwick realises he's turning in to a donkey (the fantastical metaphor all the more effective because it's openly accepted as real, just like the blue fairy's interventions), or tragedy, as when Gepetto laments with Figaro and Cleo that they're going to starve to death.
And while everyone knows how good the effects animation is - the water in the climactic chase sequence is surely the best animated in history, not challenged until Miyazaki's Ponyo almost 70 years later - and how detailed the oil paintings are, and the superb directorial flourishes that let them work together (e.g. the lightning when Pinocchio is trapped in his cage), the character animation is really something to behold. Stromboli and Jiminy couldn't be further apart in design, but they're equally well realised, every gesture and expression completely sold, and Figaro is just delightful.
To think Snow White, Pinocchio, Fantasia, Dumbo and Bambi were all released within 5 years of each other. I wouldn't believe it if I didn't know it was true.
But Pinocchio is never in danger of sliding too far in to saccharine sentimentality - the conniving Honest John, the nasty Stromboli and the coachman all bring peril and temptation to bear, and once they arrive on the scene, the palette abandons the bright oranges and browns of Gepetto's house for dark and dangerous blacks and blues. Indeed, it's about as consistently dark and melancholic a Disney feature as could exist - at times it stretches in to straight horror imagery, as when the delinquent Lampwick realises he's turning in to a donkey (the fantastical metaphor all the more effective because it's openly accepted as real, just like the blue fairy's interventions), or tragedy, as when Gepetto laments with Figaro and Cleo that they're going to starve to death.
And while everyone knows how good the effects animation is - the water in the climactic chase sequence is surely the best animated in history, not challenged until Miyazaki's Ponyo almost 70 years later - and how detailed the oil paintings are, and the superb directorial flourishes that let them work together (e.g. the lightning when Pinocchio is trapped in his cage), the character animation is really something to behold. Stromboli and Jiminy couldn't be further apart in design, but they're equally well realised, every gesture and expression completely sold, and Figaro is just delightful.
To think Snow White, Pinocchio, Fantasia, Dumbo and Bambi were all released within 5 years of each other. I wouldn't believe it if I didn't know it was true.
Really enjoyed Clerks 2. Kevin Smith remains one of my favorites when it comes to writing dialogue and conversations, regarding topics a lot of the time too, at least in Clerks. I don't know how to feel about where he's been going recently though lol... I'm not sure if I'll ever be ready to watch Tusk.
User 479360
Banned
Well-said. I agree.
i donno man, it seems to me he takes great care in ediiting his docus in a way they look more like well paced works of fiction telling various intertwined stories with the usual beginning-middle-conclusion criteria, and not just docus. Maybe it's just me
User 479360
Banned
Tusk doesn't sound very good to me, but I'm a Kevin Smith fan and still want to see it. It's airing on The Movie Network on Friday, so I'm saving it.
Here's hoping I won't find it boring or too weird. I'm not really into super weird movies.
My favourite Kevin Smith movies are Chasing Amy and Clerks, with Clerks II and Mallrats not too far behind. I don't like Dogma as much as most, but want to give it another chance, and also like Jersey Girl more than most.
kurisu1974
Banned
Haha I was such a big Jersey Trilogy fanboy back in the day. Jason Lee as Brody and Banky in Mallrats and Chasing Amy... so good! Actually those two and Clerks are the only Smith movies I genuinly like. Not a big fan of Dogma or anything that came after.
I found Tusk to be almost unwatcheable nonsense. No idea what they were aiming for, it's just weird and feels cheap.
Ex Machina-Enjoyed this one immensely. All the actors killed it 9/10. I recommended it to everyone.
Slo
w West-This movie didn't do anything for me. The last fight scene was cool and we'll done, especially the heads popping in and out of the high grass. For the life of me I have no idea what Fassbender said 60% of the time. Ending spoilers
Slo
ooooooooo
are those kids at the end that they show in house with Rose the same ones orphaned from that store shootout? Did they follow them? Did I miss something here?
This came out in cinemas today, btw, i may go.
Trailer looks good.
Depends if i have time (and will).
Ventilaator
Banned
Saw Age of Ultron.
I don't get it. The consensus seems to be that it's fine, but a bit shit and much worse than the first one. This made me a bit worried because I find most Marvel movies mediocre as it is, but I thought AoU did basically everything better than the first one and is easily one of the better Marvel movies. It looks much better, the villain is much better, every character gets to do things as opposed to the Iron Man&friends dynamic of the first one and there's even the part where
Of course there are the obvious complaints you can throw at it about it being stupid fluff entertainment with more style than substance etc etc, but "entertainment" and "style" is way more than I got out of Thor 2 and Iron Man 3...
...and Thor 1 and Captain America 1 and Guardians of the Galaxy now that I think about it.
I don't get it. The consensus seems to be that it's fine, but a bit shit and much worse than the first one. This made me a bit worried because I find most Marvel movies mediocre as it is, but I thought AoU did basically everything better than the first one and is easily one of the better Marvel movies. It looks much better, the villain is much better, every character gets to do things as opposed to the Iron Man&friends dynamic of the first one and there's even the part where
people die when you kill them! :O
Of course there are the obvious complaints you can throw at it about it being stupid fluff entertainment with more style than substance etc etc, but "entertainment" and "style" is way more than I got out of Thor 2 and Iron Man 3...
...and Thor 1 and Captain America 1 and Guardians of the Galaxy now that I think about it.
great, lets us know if you go and how it was. I drink these movies like fresh water after a day in the hot sun
I've read up on Tusk, honestly it sounds really disturbing and disgusting, people tell me it's so over the top at some points that it's funny. Seen some clips and screens, and I really don't think I want to see it in action.
I'll try to squeeze Mad Max in, too.
Again, depends if i have time to go, 'cause it's not exactly next door (have to drive a bunch of hours).
Ventilaator
Banned
Pitch Perfect 2
I saw comments saying that there's way more singing in this one and it hurts the story and the pacing and the everything, and like...what? I thought this was just a normal comedy where sometimes singing happens.
But for Pitch Perfect 3 they should try to have the best team win, because oh my god the evil German team in this is so much better than everyone else.
I saw comments saying that there's way more singing in this one and it hurts the story and the pacing and the everything, and like...what? I thought this was just a normal comedy where sometimes singing happens.
But for Pitch Perfect 3 they should try to have the best team win, because oh my god the evil German team in this is so much better than everyone else.
Insane Metal
Member
Poltergeist (2015)
Look, I enjoyed the movie. No, it's not as good as the original, and no, a new version wasn't necessary. Still, it is a cool horror flick. It was decent.
Look, I enjoyed the movie. No, it's not as good as the original, and no, a new version wasn't necessary. Still, it is a cool horror flick. It was decent.
SuperInuit
Member
How is Rockwell in it? The trailer I saw made it look like he was having fun with it at the very least.
Insane Metal
Member
Snowman Prophet of Doom
Member
Mad Max was a very enjoyable action movie.
But those declaiming it and its characters to be substantive are, uh, odd. The work is one of the purest exercises in style that's been released in years, and is damn good in that respect. There's a lot of cleverly-layered details throughout, and the choice to just drop one in the middle of this world and not stop to explain what is happening is excellent, and intelligent. But let's be real. The characters and story are about as generic as they come, and some of the dialogue is just preposterous.
But those declaiming it and its characters to be substantive are, uh, odd. The work is one of the purest exercises in style that's been released in years, and is damn good in that respect. There's a lot of cleverly-layered details throughout, and the choice to just drop one in the middle of this world and not stop to explain what is happening is excellent, and intelligent. But let's be real. The characters and story are about as generic as they come, and some of the dialogue is just preposterous.
Charles Foster Kane
Rosebud
I don't think anyone is claiming it to be Fanny and Alexander. There is substance though. It is mostly handled through visuals, but there is. The movie having "preposterous" dialogue also doesn't seem out of line. If anything, it's surprising how little dialogue there is for a movie of its kind, and how much it respects its audience; it's refreshing.
i agree, but i think that like Star Wars and Avatar, people just react so much to the world that they don't care. but unlike Star Wars and Avatar, Fury Road isn't boring.
but i also think that the over-the-top nature oozed into the characters and their drama. an example is when Furiousa screamed in the desert, emotionally it didn't really work because of the predictability of it, but the way it was executed with the melodramatic, bombastic music and visuals just made it really enjoyable.
so yeah while it doesn't mess with the formula it just does it so stylishly that it doesn't matter. and i liked it when Furiousa and Max looked at each other.
but i also think that the over-the-top nature oozed into the characters and their drama. an example is when Furiousa screamed in the desert, emotionally it didn't really work because of the predictability of it, but the way it was executed with the melodramatic, bombastic music and visuals just made it really enjoyable.
so yeah while it doesn't mess with the formula it just does it so stylishly that it doesn't matter. and i liked it when Furiousa and Max looked at each other.
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