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Not the worst way to go.
He may have tried for auteur theory because he had spent such a long time under the popular opinion that he made vulgar-type films. To quote Wikipedia on Vertigo:
Basically, he'd been dealing with the same crap as the NYTimes Avengers review (which, to remind, was basically "sure, it has good acting, dialogue, and plot, but it's still an explosion movie.").
Battleship is brilliant because because it's a basic writing prompt that actually got made. The next movie will probably be "The Words X, Y, and Z in an Essay."
Tonight's movie was You Can't Take It With You, which is basically the archetype for every snooty-family-meets-cloudcookulanders-and-learns-what's-really-important story, and so has all the associated flaws.
I hated it when I saw the play, so I can't imagine a filmed version is any better.
I loathe films with that snob-vs-slobs BS. They so very rarely ever point out the realities of those conflicts. The one and only time I ever had someone seriously ask me, "Hey! You think you're better than me?", I really felt that I was. She was scumbag who kidnapped an old crippled man to steal his Social Security check and forced him to live in a van with herself and three dogs.
This is the movie where Hitchcock completely screwed over that poor actress' career with his stalker tendencies, ya?
Don't worry. I bet her kids gave her some money. I hear they're doing alright.
To be fair, the rich guy was basically the era bain capital, specializing in the demonstration of how profit =/= morality. On the other, the family didn't get in any trouble with the neighbors for almost burning down the neighborhood and making them homeless by selling the house on a whim.
That doesn't make those movies of Hitch's better.
I mean, it was no Steel, but it was pretty good.
maybe for you colonials, it came out today in the uk and i saw it at midnight though my post got bottom of page'd
I just watched Men in Black 3. Maybe we could discuss that?
I don't get this comment! Is it sarcasm? I am bad at detecting these things!
EDIT: For those not in-the-know, Hitchcock basically snuffed out the main actress' career after The Birds because she refused his advances. He got so pissed he basically sat on her contract until she was no longer relevant in movies anymore, basically killing her film career!
Her son-in-law is Antonio Banderas.
He did use her again in Marnie.
i noticed it with john carter, avengers, battleship and now prometheus and i'm sure there were others too. feels like some sort of test bed marketing thing.
First, let me preface this with a quote from a review I scanned after seeing the film: "Prometheus suffers from a near-terminal inability to decide what story it wants to tell." Well, there's your problem.
Spoilers follow:
Secondly, people are very, very stupid in this film; it would seem quarantine protocol and the ability to stay still in one place are not concepts widely adopted in our near future. And their characterisation is very thin on the ground - the Prometheus' pilots were practically eager to commit suicide on the orders of a woman they had known for less than a week.
The motivations of Fassbender's character, David, are, frankly, inscrutable. His infecting Dr. Holloway seems to have no basis other than kicks 'n' giggles. And quite contrary to the desires of his 'father', Weyland, as the only consequence is the endangerment of everyone aboard the Prometheus. He seems dissatisfied with humanity, and speaks of a desire to kill his creators, but surely there are easier ways? I like how his finger ridges form the Weyland logo, though.
Theron's character is pretty superfluous, though I suspect her character arc may have suffered the most in the editing room. Couldn't help but laugh at how she went out; she should have been saved for the sequel instead of the tension-deflating Looney Tunes death she was saddled with. Speaking of which, the sequel hook was a clumsy piece of work and a thoroughly unsatisfying note to end the film on. The proto-xenomorph born from the remains of the lone surviving Engineer was also pretty pathetic: it smacked of some executive kindly reminding Ridley Scott that the funding for this project came from an Alien franchise prequel pitch.
Bringing me back to the review I quoted, the film's greatest flaw is simply that it cannot decide on its focus or even genre. It fails as a meditation on man's origins, as the only communication between the humans and the Engineers is conducted in the universal (albeit imprecise) language of violence. It fails as an effective horror film due to the rehashing of concepts from the Alien films, but with less inspired monster designs (autonomous, squid-like vaginas aren't quite as unnerving as you would imagine from the description alone). It fails as a thriller due to the pacing, the plotting and lack of a conclusion that satisfies any of the questions it asks the audience.
All aspects of the piece suffer due to its association with the director's previous work in the genre. There's an interesting film here, somewhere, but it should have been allowed to be its own creature.
And claiming that intelligent life has its origins in Scotland, well, I have no issue with that. Makes perfect sense to this Glaswegian.
I'm generally against tampering with complete films, but I would love for David Arnold to get a crack at re-scoring that film. That limp 90s minimalist techno nonsense is about the only aspect of it that hasn't aged well.
AHHHH
i pretty much agree with everything, and it reminded about the two co-pilots extremely fucking random "hey sucide? that sounds like fun!"
it sure was pretty to look at though but i felt it needed maybe a bit more giger. i enjoyed it nevertheless but the aftermath left a sort of sour taste and i can't decide if its their fault or my own for all hype i gave to it.
alot of choices make me think they were put there so there would be some kind of directors cut later to match with rest of series that all have them.
It completely kills the film.
"Readers who prefer tension and romance, Maledictions: The Offering, delivers... As serious YA fiction, I’ll give it five stars out of five. As a novel? Four and a half." - Liz Ellor
My new novel:
Maledictions: The Offering.
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Agreed. 90s Techno is the hereditary music of my people, though.
Steam: DigitalArcanist | XBoxLive: DigitalArcanist | PSN: DigitalArcanist | Backloggery: Houn
It was a Serra score (he also did Fifth Element and Leon), and I liked how it worked with the film, a different soundtrack would ruin the flow of the movie. So no you heathen sons of bitches leave my jub jub song alone.
It's true Duke is a main character in all G.I. Joe rosters, only he won't be missed too much in the sequel IMO. Besides, he already had a movie being the star. Now should be The Rock's turn if they're not going to recast Tatum with someone with genuine acting talent.
Eh. Adaptions do small changes like that all the time and make it work, for example Bruce Wayne being trained by
1) Cyclops was poorly used in the X-men movies. He's a good character when written correctly. Unfortunately it was the Wolverine show. 2) He only got killed off because Fox was pissed Marsden was shooting Superman Returns. It had nothing to do with the character.
Agreed. Yes, it dates the film a bit, but it also works really well.
Plus as I sarcastically pointed out, the only person who goes back and changes soundtracks on movies is George Lucas, and it worked out awfully for the films.
I really enjoyed the film as a standalone but felt that
It might improve with the director's cut.