Doomsday
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Post by Doomsday on Nov 13, 2018 22:12:06 GMT -5
I’ll go with Greatest Showman.
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Deexan
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Post by Deexan on Nov 14, 2018 4:54:48 GMT -5
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Dracula
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Post by Dracula on Nov 14, 2018 8:11:14 GMT -5
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PhantomKnight
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Post by PhantomKnight on Nov 14, 2018 12:22:24 GMT -5
I’ll go with Greatest Showman. I can already predict your review.
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Doomsday
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Post by Doomsday on Nov 14, 2018 13:03:56 GMT -5
I’ll go with Greatest Showman. I can already predict your review.
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PG Cooper
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Post by PG Cooper on Nov 14, 2018 13:13:25 GMT -5
This is such a Dracula thing to say.
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PhantomKnight
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Post by PhantomKnight on Nov 14, 2018 13:28:34 GMT -5
#ThatsSoDracula
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1godzillafan
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Post by 1godzillafan on Nov 14, 2018 13:40:11 GMT -5
I'd ignore the essay then outright bash the film just for fun.
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Deexan
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Post by Deexan on Nov 14, 2018 16:44:55 GMT -5
I'm just offended by the fact that Drac thinks I'm not familiar with the particulars of communist Poland in the early 1980s.
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Jibbs
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Post by Jibbs on Nov 15, 2018 21:55:48 GMT -5
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Doomsday
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Post by Doomsday on Nov 15, 2018 22:57:33 GMT -5
Having a Disaster Artist/Room back to back should be interesting.
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1godzillafan
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Post by 1godzillafan on Nov 16, 2018 5:09:28 GMT -5
If you watched Birdemic instead, I wouldn't complain. I couldn't list The Room without Birdemic. I just couldn't. I've already seen and quite enjoyed Coco, so that one is out. I'm tempted to do Silent Running, since it helped influence Mystery Science Theater. Buuuuuuuuut....I've been meaning to get to Forbidden Planet for a while. So I'll probably go for that one.
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IanTheCool
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Post by IanTheCool on Nov 18, 2018 13:32:50 GMT -5
Walkabout
Walkabout is a great study of modernity vs. the natural world that strikes a great balance of overt vs subtle, preachy vs entertaining. It starts with a brother and sister whose father takes them to the Australian outback for a picnic. Leading up to this you can tell somethings not right with him, that the mundane rhythm of life has broken him, and needless to say the kids become stranded in the wilderness.
This is a really good movie with some great visuals and juxtapositions, some artsy editing that ends up not being too distracting and works, and a strong ending which really punctuates the theme. It shows us that the modern world is inevitable, that human society will always choose it and move towards it, leaving nature in our wake, no matter how much our heart may long for it.
Its not perfect, but as an exploration of this theme its close. There are some weird deviations, like the science team and the marketplace, that never tie into the story at all. Also, the boy is really hard to understand. I'm also not entirely sure what the dance at the end meant. Still working on that. But this is certainly a film with a vision and really works well.
9/10
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PG Cooper
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Post by PG Cooper on Nov 21, 2018 11:44:42 GMT -5
Glad you enjoyed Walkabout. As you say, the themes of the film are in some ways remarkably clear, but there's also a certain mystery to the film which I've had a hard time shaking. For my part, I watched my films from both Deexan and IanTheCool, though neither are the films I said I would. Spring (2015)Spring is a seemingly standard indie movie about a young man in a rough place who somewhat recklessly travels to Italy for an impromptu vacation where he meets a beautiful woman and starts to fall for her. Early on, I was close to writing this movie off. The visual style seemed indistinct from any number of low-budget indies and I also found the writing to be a little grating. Put bluntly, the protagonist is kind of annoying and his early romancing of love interest Louise never rang true to me. This is a pretty significant flaw given Spring does want to be a Before Sunrise-esque "walk, talk, and fall in love" story, or at least, a part of the film does. See, at a certain point, the movie takes a weird turn. I don't wanna give away the twists for those who don't know anything about the film (and it really is better if you go in knowing nothing), but suffice it to say I was pretty shocked by where the movie went and this twist did a lot to pull me back. All of a sudden I was intrigued by were the story was going and the filmmakers also do a good job rendering these aspects of the story. These twists also serve to make the romance more effective. That kind of weird turn is certainly inspired, but I really wish the first half of the film did a better job getting me invested in the story and characters. Also, for all of the film's creative vibes, the overall theme is a fairly simple one regarding not fearing death and living life to its fullest. That's a fine message I guess and the film does a decent enough job telling it, but it's not nearly as interesting as the film's more unique aspects. C+The New World (2005)I'll get my one reservation out of the way now: lead actress Q'orianka Kilcher was only about 15 when making this film, while male co-stars Colin Farrell and Christian Bale were 29 and 31 respectively. That's a little creepy. In terms of the content of the film, it does make sense and I also think the film frames the romance to John Smith in particular as more of en ethereal dream-scape rather than a literal romance. Still, watching 30 year old men caress and hold a teenager did make me a little uncomfortable. But that aside (weird as that is to say), holy hell did I love this movie. This was Terrence Malick's first collaboration with cinematographer Emmanuel Lubezki and the two are clearly a match made in heaven. The New World is one of Malick's most strikingly beautiful films. The film is shot primarily in the wilderness with natural lighting and the results are breathtaking. The free-form movement of the camera gives a great sense of life to the film's visuals. There's a great sense reality unfolding to The New World, and that too applies to the conflict between Indigenous peoples and settlers. Early scenes are not weighed down by the baggage of historical reality, but instead hold a sense of curiousity and urgency - a sense that such events are unfolding in real-time. Of course, violence does eventually emerge, and this is in fact one of the areas The New World most excels. Malick delivers some remarkably crafted skirmishes and you brings a sense of ugliness and hatred to the colonial abuses that is striking. One thing I found surprising was just how clear and foregrounded the actual plot was. The New World is the film a lot of people point to as where Malick abandoned the pretenses of storytelling and just started shooting pretty pictures for the sake of it. I really don't see that at all. Maybe it's because Malick is working with a well-known historical myth, but I find the narrative here to be remarkably clear and really at the forefront of the film. Quite frankly I'd argue this is actually one of Malick's most plot driven films, although that's certainly relative. I'd also argue it's one of his best. The New World is certainly a beautifully shot movie with some amazing moments of visual poetry, but it's also an exciting piece of cinema that tells a highly compelling story with a great level of detail and insight. This ranks right up there with Days of Heaven as being among my favourite Malick films. A+
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Dracula
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Post by Dracula on Nov 21, 2018 12:35:13 GMT -5
Glad you enjoyed Walkabout. As you say, the themes of the film are in some ways remarkably clear, but there's also a certain mystery to the film which I've had a hard time shaking. For my part, I watched my films from both Deexan and IanTheCool, though neither are the films I said I would. Spring (2015)Spring is a seemingly standard indie movie about a young man in a rough place who somewhat recklessly travels to Italy for an impromptu vacation where he meets a beautiful woman and starts to fall for her. Early on, I was close to writing this movie off. The visual style seemed indistinct from any number of low-budget indies and I also found the writing to be a little grating. Put bluntly, the protagonist is kind of annoying and his early romancing of love interest Louise never rang true to me. This is a pretty significant flaw given Spring does want to be a Before Sunrise-esque "walk, talk, and fall in love" story, or at least, a part of the film does. See, at a certain point, the movie takes a weird turn. I don't wanna give away the twists for those who don't know anything about the film (and it really is better if you go in knowing nothing), but suffice it to say I was pretty shocked by where the movie went and this twist did a lot to pull me back. All of a sudden I was intrigued by were the story was going and the filmmakers also do a good job rendering these aspects of the story. These twists also serve to make the romance more effective. That kind of weird turn is certainly inspired, but I really wish the first half of the film did a better job getting me invested in the story and characters. Also, for all of the film's creative vibes, the overall theme is a fairly simple one regarding not fearing death and living life to its fullest. That's a fine message I guess and the film does a decent enough job telling it, but it's not nearly as interesting as the film's more unique aspects. C+The New World (2005)I'll get my one reservation out of the way now: lead actress Q'orianka Kilcher was only about 15 when making this film, while male co-stars Colin Farrell and Christian Bale were 29 and 31 respectively. That's a little creepy. In terms of the content of the film, it does make sense and I also think the film frames the romance to John Smith in particular as more of en ethereal dream-scape rather than a literal romance. Still, watching 30 year old men caress and hold a teenager did make me a little uncomfortable. But that aside (weird as that is to say), holy hell did I love this movie. This was Terrence Malick's first collaboration with cinematographer Emmanuel Lubezki and the two are clearly a match made in heaven. The New World is one of Malick's most strikingly beautiful films. The film is shot primarily in the wilderness with natural lighting and the results are breathtaking. The free-form movement of the camera gives a great sense of life to the film's visuals. There's a great sense reality unfolding to The New World, and that too applies to the conflict between Indigenous peoples and settlers. Early scenes are not weighed down by the baggage of historical reality, but instead hold a sense of curiousity and urgency - a sense that such events are unfolding in real-time. Of course, violence does eventually emerge, and this is in fact one of the areas The New World most excels. Malick delivers some remarkably crafted skirmishes and you brings a sense of ugliness and hatred to the colonial abuses that is striking. One thing I found surprising was just how clear and foregrounded the actual plot was. The New World is the film a lot of people point to as where Malick abandoned the pretenses of storytelling and just started shooting pretty pictures for the sake of it. I really don't see that at all. Maybe it's because Malick is working with a well-known historical myth, but I find the narrative here to be remarkably clear and really at the forefront of the film. Quite frankly I'd argue this is actually one of Malick's most plot driven films, although that's certainly relative. I'd also argue it's one of his best. The New World is certainly a beautifully shot movie with some amazing moments of visual poetry, but it's also an exciting piece of cinema that tells a highly compelling story with a great level of detail and insight. This ranks right up there with Days of Heaven as being among my favourite Malick films. A+The real Pocahontas was about eleven when she supposedly saved John Smith, was seventeen when she married Rolfe, and was about 20 when she died so they sort of split the difference in their casting.
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PG Cooper
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Post by PG Cooper on Nov 21, 2018 12:42:28 GMT -5
The real Pocahontas was about eleven when she supposedly saved John Smith, was seventeen when she married Rolfe, and was about 20 when she died so they sort of split the difference in their casting. I get that. It works in terms of telling the story. But in terms of the real life filmmaking, it still makes me raise an eyebrow. Has anyone watched the other cuts included with the Criterion Blu-Ray?
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Dracula
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Post by Dracula on Nov 21, 2018 13:23:19 GMT -5
I would have watched the 135 minute theatrical cut back in '05. Probably couldn't elaborate the differences but it was still pretty good, this isn't a Kingdom of Heaven situation where the studio ruined things.
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IanTheCool
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Post by IanTheCool on Nov 21, 2018 18:54:28 GMT -5
Glad you enjoyed Walkabout. As you say, the themes of the film are in some ways remarkably clear, but there's also a certain mystery to the film which I've had a hard time shaking. For my part, I watched my films from both Deexan and IanTheCool , though neither are the films I said I would. Spring (2015)Spring is a seemingly standard indie movie about a young man in a rough place who somewhat recklessly travels to Italy for an impromptu vacation where he meets a beautiful woman and starts to fall for her. Early on, I was close to writing this movie off. The visual style seemed indistinct from any number of low-budget indies and I also found the writing to be a little grating. Put bluntly, the protagonist is kind of annoying and his early romancing of love interest Louise never rang true to me. This is a pretty significant flaw given Spring does want to be a Before Sunrise-esque "walk, talk, and fall in love" story, or at least, a part of the film does. See, at a certain point, the movie takes a weird turn. I don't wanna give away the twists for those who don't know anything about the film (and it really is better if you go in knowing nothing), but suffice it to say I was pretty shocked by where the movie went and this twist did a lot to pull me back. All of a sudden I was intrigued by were the story was going and the filmmakers also do a good job rendering these aspects of the story. These twists also serve to make the romance more effective. That kind of weird turn is certainly inspired, but I really wish the first half of the film did a better job getting me invested in the story and characters. Also, for all of the film's creative vibes, the overall theme is a fairly simple one regarding not fearing death and living life to its fullest. That's a fine message I guess and the film does a decent enough job telling it, but it's not nearly as interesting as the film's more unique aspects. C+The New World (2005)I'll get my one reservation out of the way now: lead actress Q'orianka Kilcher was only about 15 when making this film, while male co-stars Colin Farrell and Christian Bale were 29 and 31 respectively. That's a little creepy. In terms of the content of the film, it does make sense and I also think the film frames the romance to John Smith in particular as more of en ethereal dream-scape rather than a literal romance. Still, watching 30 year old men caress and hold a teenager did make me a little uncomfortable. But that aside (weird as that is to say), holy hell did I love this movie. This was Terrence Malick's first collaboration with cinematographer Emmanuel Lubezki and the two are clearly a match made in heaven. The New World is one of Malick's most strikingly beautiful films. The film is shot primarily in the wilderness with natural lighting and the results are breathtaking. The free-form movement of the camera gives a great sense of life to the film's visuals. There's a great sense reality unfolding to The New World, and that too applies to the conflict between Indigenous peoples and settlers. Early scenes are not weighed down by the baggage of historical reality, but instead hold a sense of curiousity and urgency - a sense that such events are unfolding in real-time. Of course, violence does eventually emerge, and this is in fact one of the areas The New World most excels. Malick delivers some remarkably crafted skirmishes and you brings a sense of ugliness and hatred to the colonial abuses that is striking. One thing I found surprising was just how clear and foregrounded the actual plot was. The New World is the film a lot of people point to as where Malick abandoned the pretenses of storytelling and just started shooting pretty pictures for the sake of it. I really don't see that at all. Maybe it's because Malick is working with a well-known historical myth, but I find the narrative here to be remarkably clear and really at the forefront of the film. Quite frankly I'd argue this is actually one of Malick's most plot driven films, although that's certainly relative. I'd also argue it's one of his best. The New World is certainly a beautifully shot movie with some amazing moments of visual poetry, but it's also an exciting piece of cinema that tells a highly compelling story with a great level of detail and insight. This ranks right up there with Days of Heaven as being among my favourite Malick films. A+I win! Take that Deexan!
Glad you liked it so much coop.
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Deexan
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Post by Deexan on Nov 21, 2018 19:06:35 GMT -5
You've won this battle, IanTheCool, but you haven't won the war!
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IanTheCool
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Post by IanTheCool on Dec 1, 2018 9:06:52 GMT -5
Cmon people, Coop and I are already done. Get on it!
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Deexan
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Post by Deexan on Dec 1, 2018 9:54:32 GMT -5
It'll be mid next week for me.
Sorry, IAN.
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Virus
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Post by Virus on Dec 4, 2018 18:44:00 GMT -5
I’ll have mine up tomorrow
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1godzillafan
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Post by 1godzillafan on Dec 4, 2018 18:54:11 GMT -5
I'm going to try and watch mine tomorrow. We'll see what my schedule will allow.
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1godzillafan
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Post by 1godzillafan on Dec 5, 2018 12:24:21 GMT -5
Despite my love for sci-fi of the 1950's and 60's somehow Forbidden Planet has passed me by over these many years. I still haven't seen the original Invasion of the Body Snatchers either. Or the 70's one for that matter. Come to think of it I think I've only seen the Nicole Kidman one, and remember nothing about it except that it sucked. Perhaps I watch too much Mystery Science Theater, so when I do have an opportunity to watch a movie like this my reaction is "Nah, I'm watching Deadly Mantis or Beginning of the End instead." Hell, one of the reasons it took me so long to do this entry is because I'm balls deep in an MST marathon, so there might be some truth to that. Shameless plug: Today's entry is Terror from the Year 5000. Also a 50's sci-fi that's much worse than Forbidden Planet! Despite Forbidden Planet being a timeless classic, I don't think I ever knew the premise of the movie. I knew of Robby the Robot of course, though I'm mostly familiar with him through his Lost in Space appearance War of the Robots. I knew Leslie Nielson was in it, long before his Airplane and Naked Gun days back when he had a legitimate acting career in films like this and Tammy and the Bachelor, instead of just being the ultimate straight face for spoof films. The film has Nielson playing a starship captain who has been ordered to investigate the radio silence of a space colony from decades prior. So the crew jumps to lightspeed to take a look. And the answer is yes, when they flew off in their spaceship I expected Nielson to say... They land on the planet and find two survivors, a man with an evil goatee and his daughter in an evil miniskirt. It turns out a creature had killed the other members of the colony years ago, but despite the duo living in solitude they wish for their new visitors to leave and never return. So, they're basically saying... Okay, that's my last one. Maybe. They're actually protecting a secret alien technology which they don't wish humanity to get their hands on, be it because it's harmful to humanity or could create harm through humanity. Debates rage over who should control this technology, meanwhile the creature returns and begins killing Nielson's crew. I began being reminded of other sci-fi media of the era at the time, and it occurred to me that was likely because Forbidden Planet influenced them. I was especially reminded of the debut episode of Star Trek, The Man Trap, which has a very similar setup to the film. I didn't surprise me to find out that Gene Roddenberry was heavily influenced by the film, because it and Star Trek have various things in common. Hell, Leslie Nielson pretty much plays a Captain Kirk prototype in it. The film is full of ideas and debates over human intelligence and what we can or cannot handle and a psychological twist to the monster that likes to kill people. The movie is actually less predictable than I feared it might have been since it was so influential. Probably since I avoided reading the premise for so long I didn't really know where it was going, or maybe since I had The Man Trap in the back of my head I expected it to go a certain way which it never did. Because of that I was constantly engaged and intrigued. There are a lot of fun sets too, which is always one of my favorite aspects of productions like this. Special effects are beautiful for the time, especially an animated sequence featuring a monster attacking the crew which took me totally by surprise. There's a portion of this sequence in which the animation picks up a man and tosses him around which looks way more seamless that I ever would have expected in a 1950's film. This movie kicked ass. It was intriguing, exciting, funny, beautiful, engaging, and just about everything I would have wanted it to be. I think I'm going to go out and buy it now, which I probably should have done a while ago. It especially stands tall in a time where spaceship stories were probably most notably represented by Rocky Jones, Space Ranger. Will definitely watch it again, and more times after that. Okay, just one more...
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Jibbs
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Post by Jibbs on Dec 5, 2018 21:13:57 GMT -5
Cool, glad you liked it.
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