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That's a thing, though, see.
I'd almost make a devil's bargain that the best directors can still pull great things out of an average script.
a fading melody - my indie platformer for the xbox 360
I'll wager you're right, but they can only do so if the producers don't have something to say about it first. Guys like Spielberg and Scorcese, however, are the exception in that they have final cut over their films. So, if you find something deficient in a Spielberg film, there's an excellent chance he had some very direct involvement in that choice.
http://badassdigest.com/2012/03/10/movie-review-the-cabin-in-the-woods-is-game-changingly-great/
3DS: 2852-6809-9411
'Game-changingly great'?
I'm breaking out the bear mace on this one.
It's not the frothing hyperbole machine it sounds like. Even at his most disagreeable, Devin Faraci can usually be counted on to begin a reasonable conversation and offer fair critiques (albeit with the occasional dismissive and polemical qualities you can expect of most eCritics). The site is also home to "Film Critic Hulk," an anonymous contributing blogger who despite his tragically idiotic signature style (writing all in caps, all Hulk-like) has been a remarkably insightful presence in the internet film community.
It's actually pretty irritating for figures who have so much to contribute to be bound up in such silly bullshit.
that's fucking AWESOME to know
yeah it's the constant hope with remakes/whatever you want to call this
that they get the tone right. with the right tone that's a fucking brilliant idea.
Samurai Jack?
But Samurai Jack is perfect. Except for not having an ending or anything.
I can't think of anyone else who would make me think a live-action Samurai Jack movie could possibly be good, but this would be amazing.
Yeah. Spielberg seems to me to not be able to differentiate a good script from a bad one, but can still get good performances and knows where to point the camera. It's how the same guy who makes ET can make Hook and not see there really being a qualitative difference.
(Michael Caine, on Jaws: The Revenge: "I have never seen it, but by all accounts it is terrible. However, I have seen the house that it built, and it is terrific.")
Jurassic Park isn't a cash grab yet it has places that make no sense (eg. The T-Rex paddock goes from being ground level with a goat feeding area to a sheer drop with a huge tree for a Jeep to catch on. Does it ruin the film? Not at all, but it does show an inability to see glaring holes. Same thing with the fine details of something garbagy like Indiana Jones and the Aliens of Lucas's Wallet.)
The first Jurassic Park isn't. The sequels are IMO.
Never even paused to wonder on that. Just figured they had more than one T-Rex out there.
Now, the velociraptors actually being deinonychus in the movie...
EDIT: Apparently since I was a child, deinonychus are now depicted as being shaggy, feathery, semi-winged New Orleans lizards, rather than the ultimate killing machines I was taught from books.
It's always driven me nuts too, because there's even a shot when they FIRST pull up to the T-Rex paddock and he's nowhere to be found. It's a shot from inside the paddock looking down at the jeeps and you can clearly see on the other side of the road (where you MIGHT possibly think that drop-off could be) is just forest.
Can't do it. I don't want feathersaurs. Sure, sure, some archaeopteryx, but, where do you draw the line?
Pterosaurs?
Parasarolophus?
Iguanodons?
T-Rex?
Triceratops? Are you gonna tell me triceratops has plumage?
Do we just do the ones that have two legs and/or wings?
Shit gets dicey, and suddenly you need to explain this shit otherwise you've got old-school dinosaur designs and new school dinosaur designs, and something's gonna look silly, and it's probably gonna be you.
It's short on plot, which is to be expected, but its action sequences are brutal, inventive, and very well-shot. Each fight is rather long and features multiple actors, and yet you never have trouble keeping track of the protagnoists or following their movements. Furthermore, the action never becomes repetitive or dull, and there are always sudden shifts and big finishes to keep you interested.
And between those scenes, the film maintains a strong sense of tension and despair that is only multiplied by the grim, dirty setting.
Seriously, if you like this sort of thing and live near an independent theater, check this out.
https://twitter.com/Hooraydiation
Damn that was a good movie. And I was kinda expecting a downer ending but that was pretty brutal.
Only two real issues I had with it:
- the necessity of the whole Cross family ... thing.
-Misery
-Carrie
-99% of The Mist
-The Shawshank Redemption
-Stand by Me
-The Green Mile
-The Dead Zone
-1408
-The Shining
-Christine
That's it. (Well, I haven't seen Apt Pupil so maybe that deserves to be on the list.)
Well, that's technically a miniseries.
The Cross family was what made it a great downer ending, evil like that really does exist in the world and they too often get away with it. Sometimes the movie going public needs to be reminded of that.
Noah Cross has the joviality of a man that knows he is untouchable. He thinks Jake's investigations are funny, because no matter what Jake discovers he his not going to be held accountable for it. Besides Jake is completely on the wrong track when it comes to his plans for LA and his daughter.
I'm a little surprised to hear this view, since while I really enjoyed the film, I felt that the finale was easily the best part and the culmination of a lot of the build-up established earlier in the film. To me, it was very much a slow-burn observation of this man's life going going completely to shit.
Agreed, though, that Keener has very little to do in this film.
And the very last scene in NY just sat there. They should've just left that one out and ended with the performance's finale.
I don't know why, but I just can't like Steve Coogan. I keep trying but it always feels, rather than him being a comedian or an actor, like I'm just putting up with some tiring guest with a disturbing upper lip.
The only thing I've really enjoyed of his has been The Trip.
Tim Curry was entertaining, but it wasn't really very good.
Aw, the epilogue in New York had the best line!
"Chuy, you're going to have a magical life. Because no matter where you go, it's always going to be better than Tucson."
Also I'm at work so I can't link it, but anyone curious about The Raid look up Hallway Fight on youtube. Insane, going to have to watch it this weekend.
What struck me is how well-designed the movie is from a marketing standpoint. I was 11 in 1997 when the film was released, and so Smith's energy and wisecracking kept me buried in that movie. Kids and young adults have this anchor of appeal throughout that film. Watching the film as more of a grown-up, Smith is a little more tiresome, which invites a little more attention for some really strong supporting work. This is Tommy Lee Jones' film, and Will Smith is there for the ride. Smith has only a very slight character arc, but Jones spends the movie teetering at the very end of an important one suggested to have begun long before we get the opening credits. What's more, Smith's zaniness is less the cool outsider shaking up the establishment, and more fodder for such coolness to be aggressively redefined. Smith is the butt of jokes that Jones chooses not to tell, but it's clearly taking everything in Jones' power not to show how incredibly amused he (and his character) really is at Smith's struggle to keep his head above water. Really wonderful straight-man work. In a movie starring a popular rapper and sitcom star and otherwise filled with huge, colorful aliens, the message today reads a little more like "hey, we can be cooler when we tone it down a notch. Those who don't are getting slimed with some shit." It's infectious, and never tips over into mean-spirited. I'm rarely in awe of a film's marketability, but damn if the film wasn't built to succeed in such different ways from such different perspectives.
Plus you've got Rip Torn and his deadpan disinterest in daily apocalypse, Tony Shaloub dripping sleaze (sometimes literally), and Vincent D'Onofrio really, truly selling the idea of a massive insect trapped in decomposing human skin. The movie reeks of the late 90s, but I live for movies built on this kind of character-actor work.
As to the question of fish-out-of-water exposition, this is a film that proves that even in a 9 figure summer production, when exposition needs to be done, it can be done with wit, charm and creativity ("Ever see Casablanca? Like that, but no Nazis"). It helps if Tommy Lee Jones is doing it.
Steam: DigitalArcanist | XBoxLive: DigitalArcanist | PSN: DigitalArcanist | Backloggery: Houn
I picked up on it when I originally saw it in the cinema, I always wondered how you were actually supposed to see the T-Rex if it was down there. And the flipside is, how the hell did the T-Rex get up there?
Spielberg doesn't care how he got there. He does this sometimes. For instance, how the path the tourists were riding in suddenly became a cliff when they were being chased by the T-Rex.