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I mentioned something similar back in the previous thread about Outrage, how it basically is standard for a Takeshi film, and it feels like it gets praised or a pass because it's by someone who was groundbreaking in the past (though I still think Sonatine was very overrated). It has its moments but it's nothing new, and compared to say Korean crime films, it needed to bring something new to the table.
Oh, nothing at all. It looks pretty good, actually.
It's just that Les Mis, the stage show, is notoriously shiny and clean for a story about poverty, prostitution, and bloody rebellion.
And then Hugh Jackman shows up looking like he just barbecued a live infant.
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Basically its about a woman that is hired to help companies stand up to yakuza intimidation/extortion tactics.
I can type up more about it when I'm not on my phone.
Yeah, I loved the sincerity of the film the most, considering the magic involved. I think this was why I loved it so much as well.
And speaking of sincerity, it's too bad about John Carter. My dad was really excited to see it because he read all of those types of Sci-Fi back in their heyday when he was a kid. I was hopeful that if would live up the expectations of 40+ years after listening to the director's Filmspotting interview. I hope my dad ended up liking it.
Russell Crowe is Australian and looks a lot like Phillip Quast* who played Javert in the Australian productions of Les Mis.
My hometown had Phillip Quast's brother, who also looks like Phillip Quast and Russell Crowe play Javert.
True story.
*Compare Master and Commander with Ultraviolet (the UK tv series) in particular.
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Tide goes in. Tide goes out.
Yes, this film is the first cinematic production of the stage show. All singing and dancing. And suicides.
I got dragged into seeing that movie by a girl and had no idea what the movie was even about.
Absolutely loved it, just so charming. A week after that I picked up my first F. Scott Fitzgerald book
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Stanton wasn't ready for this. He needed at least to complete one live action film before shooting John Carter to avoid learning on the job for a big project like Carter. That and he needed to learn how the live action film shoots were different from animated films.
I sympathize with the Disney marketing people who were sabotaged by him.
You sound like one who has been through the subgenre quite a bit.
Any recommendations?
It's a pretty rare set of circumstance when someone can put a sentence like that together and mean it.
Absolutely. Most of these are on Netflix instant watch last I checked, and this is just the crime/mafia genre stuff, there's a lot more I can recommend if you want something else:
Man From Nowhere
A Better Tomorrow (both the classic Hong Kong film and the new Korean remake)
Righteous Ties
The Unjust
No Mercy
Cruel Winter Blues (this is what Sonatine should have been, imo)
The Chaser
Guns and Talks (probably the best foreign film I've seen, more a comedy but it's about assassins and gangs)
Crows Zero (more about student gangs but along the same lines)
Add to that a populace that is perpetually hungry (hence the Hunger Games themselves - the winning kid's district gets slightly more food), and the people don't have the strength or will to revolt.
Yeah, it's overwrought, but it has internal consistency. The real problems with the series come later on, when the revolt happens. We're never really given a sense of scale for the size/populations of the other districts, so it's hard to tell/believe that they'd be able to mount a resistance at all, even if they weren't hungry/had few weapons/etc. That's by far the biggest stretch, to me.
The books themselves are decent enough. They're good "My first post-apocalyptic setting" stories. Definitely flawed (the third book, especially), but they're not complete shit. I'd rather that they become the next fad than Twilight sticking around.
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The film is good enough though that it should have been a hit. Avatar was huge and it wasn't significantly better. But the marketing, as discussed, was terrible. Until I read this thread, I had no idea Stanton was involved. My friends don't even know who Andrew Stanton is. But, if the marketing had mentioned points like:
-The first live action film from the writer and director of Wall-E and Finding Nemo
-Based on the novel that inspired Star Wars, Star Trek, Avatar, and pretty much every sci-fi movie ever
-Based on a novel by the writer of Tarzan
-A film almost 100 years in the making
That would have gotten people interested in it. Stanton really wanted to believe that everyone would want to see a John Carter movie, but no one even knew who John Carter was.
It really is a shame, too. It's going to make the execs reluctant to give Stanton another shot at live action, even though he has some talent there.
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That makes it all the more tragic.
Maybe having less power on his new live action project might improve his craft (especially when preparing footage for trailers) and make any trailers for those projects better. Of course, that will only work if he admits to his mistakes on John Carter.
edit: I didn't know he directed Little Nemo or Wall-E until I read that article.
In fairness, John Carter was much more ambitious than MI4. MI4 just had to not suck totally. John Carter had to be a gigantic smash.
A real shame, too. There was a lot of potential in John Carter, but way too many failures of basic storytelling fundamentals to really become the hit it needed to be.
oh wow, I remember Ultraviolet. Good show.
edit: and you're right, there is definitely a resemblance there.
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It's especially depressing that this is essentially Stanton's dream movie and he might be directly responsible for scuttling it and any sequels.
I do think that the lack of a fervently evangelical fan base for the source material might have given the whole project a steeper hill to climb than you might think though.
I still think that Taylor Kitsch is a bit of a plank in the lead role. Purefoy out-charisma's him with no discernible effort in the very brief "hostage" scene. That obviously wouldn't have stopped this movie from being a success though.
For a while. Eventually someone will make a new version, since the film has given enough publicity to the franchise to get someone's attention. That said, it'll be a decade before that starts being a possibility.
Yes, that was one of its biggest hurdles. The fanbase was so tiny it may as well have not existed at all.
Can't say whether Kitsch was right in the role since I haven't seen the film yet. He was good in X-men Origins: Wolverine. John Carter needed an A-lister but due to the film's expensive budget they couldn't afford one so they got him instead.
fuck yesssssssssssssss
Maybe I'm wrong but I felt like the movie wanted me to agree with the royal family when they were like "Edward is crying when his father died instead of keeping a stiff upper lip? What an outrage!" and "Edward is marrying someone who had been married before? How dare he! Kick him off the throne!" But I don't have a problem with someone expressing grief or marrying the person he loves.
(At one point Edward's brother is like "you can't marry a divorcee - you're the head of the Church of England!" For gosh sakes, the reason the Church of England exists is because Henry VIII - the first Supreme Head of the church - wanted to divorce/execute a bunch of women and the Catholic church wouldn't let him.)
Also, he was an utter twat in real life so fuck him right in the eye. Mrs Simpson did the country a massive favour by banging him and getting him off the throne for WWII.
I think, like many of the scenes with George and the speech therapist, you are supposed to understand it in context.
The things Edward does aren't so bad out of context, but in context it's part of a pattern of selfish behavior. They don't just show him giving up the throne or crying at a funeral, they show him smacking down George when George confronts him about doing his job and such too.
Saw it at the Seattle International Film Festival years ago. Love the...
yikes, I feel pretty disconnected from that article
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I mean seriously, I can't pick a favorite track, they're all just so great:
By all means, I should've loved it, but I just didn't. I mean, it wasn't terrible, but it did nothing for me. I mean, I loved Sukiyaki Western Django and the more traditional spaghetti westerns, so you'd think I'd be into this one.
I know what you mean by the length though. It probably really stuck out to me seeing as I wasn't that into the film.