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Talk About [Movies]; Say Interesting Things; Don't Be Jerks

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Posts

  • AstaerethAstaereth In the belly of the beastRegistered User regular
    I am way, way less interested in following box office results than most people, it seems, but even I'm enthused by this sweet infographic:

    Universal-movies-graphic.jpg

    As Vox points out, Universal has blown every other studio away, and done so without a superhero franchise, and by catering to minority audiences:
    Universal's strategy seems to be finding underserved segments of the marketplace and then aggressively courting them at times in the year when audiences don't have a lot of other options. Certainly Straight Outta Compton appeals to more than just black audiences, but it doesn't hurt that it's been the only major release about black characters in months. Similarly, opening the female-friendly Pitch Perfect 2 at the early height of male-centric summer movie season proved to be a counter-programming masterstroke. Release schedules still matter, and so far, Universal has scheduled its films better than any other studio in 2015.

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  • PreacherPreacher Registered User regular
    No super hero film, but four huge successes based on sequels. So not exactly blowing up the originality tree either.

    I would like some money because these are artisanal nuggets of wisdom philistine.

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  • RamiRami Registered User regular
    Also JW, F&F and Minions don't exactly fit any of those categories.

    The infographic doesn't really mean much to me without knowing all of the movies those studios actually released this year.

    But mostly its sad that JW made so much money for such a meh film and not enough people saw Fury Road.

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  • emnmnmeemnmnme Registered User regular
    Poor Jupiter Ascending, even beaten by Pixels. The Wachowskis haven't had a hit at the box office in a decade.

  • TexiKenTexiKen Registered User regular
    Universal is just making up for some shitty years in the past where they got punished hard for trying to make original movies. The first four years of this decade the only movies that really took off were Despicable Me and the Fast & Furious movies, with a comedy here or there like Bridesmaids. And those movies basically took back what Universal lost with Scott Pilgrim, RIPD, Battleship, Cowboys & Aliens, Tower Heist, 47 Ronin, etc.

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    Astaereth
  • Harry DresdenHarry Dresden Registered User regular
    Pity we didn't get this movie.

    http://birthmoviesdeath.com/2015/08/18/what-was-fantastic-four-like-before-simon-kinberg
    Slater’s script is closer in tone and action to a Marvel movie, with big action and lots of character interplay. It’s maybe a little overstuffed, featuring the origin of the Fantastic Four, Doctor Doom, Galactus, Mole Man, Herbie the Robot and even the FantastiCar, and containing a central action set piece in the streets of New York City against a gigantic Moloid that eats Ben Grimm.

    The 2012 draft resembles the film closely at first. Reed and Ben are young friends, working together on a project that teleports matter to… somewhere. In Slater’s draft the toy car that Reed first teleports shows back up when the team make it to the Negative Zone, a strange thing for the final film to leave out.

    Slater’s draft is quicker than the final film, but it does take time to establish that Ben Grimm is Reed’s enforcer, keeping him safe from bullies. This aspect makes Reed’s decision to bring Ben along on the trip to the Negative Zone make more sense. In this version there is no elder Dr. Storm, and Sue calls her brother Johnny in to help at the last minute because they have no one else to turn to.

    As in the final film Reed goes to the Baxter Building as part of a science scholarship; there he meets Sue and Victor Von Doom. Victor takes the nerdy Reed to parties, where he meets and falls for Sue, but Victor’s not actually picking up girls at these shindigs - he is secretly feeding Reed’s research to spies from his homeland of Latveria.

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  • TomantaTomanta Registered User regular
    Taramoor wrote: »
    Shut Next off right before the ending and you have one of the ballsiest movies I've ever seen.

    Why didn't I see this an hour and a half ago?

    (It might be a ballsy movie in that case, but still a terrible one. So much wrong I don't even want to think about it).

    TexiKen
  • override367override367 ALL minions Registered User regular
    I'd love a fantastic four movie just flat out set in the 1960s or something

    AtomikaSo It GoesRhalloTonnyLinespider5CaptainNemo
  • JibbaJibba Registered User regular
    Atomika wrote: »
    I find him grating and smug

    I think sometimes it can work in his favor. Have you seen The Double? It's tough to play a meek loser and a smug asshole at the same time. The normal meek loser actors probably couldn't pull off the asshole part so well.

    wanderingHandgimp
  • AstaerethAstaereth In the belly of the beastRegistered User regular
    I used to dislike Eisenberg because I was firmly in the Cera camp, but I've since come around on Jesse. He's good in the right role, but boring in more generic roles (like Now You See Me or Zombieland).

    ACsTqqK.jpg
  • Harry DresdenHarry Dresden Registered User regular
    Astaereth wrote: »
    I used to dislike Eisenberg because I was firmly in the Cera camp, but I've since come around on Jesse. He's good in the right role, but boring in more generic roles (like Now You See Me or Zombieland).

    Harrelson and Eisenberg were bright spots in NYSM, too bad the other members on their team were badly used. They needed to make Isla Fisher do more than be the hot chick, she's a good actress.

  • TommattTommatt Registered User regular
    Preacher wrote: »
    Feb also has valentines day though, that always gets the worst movies ever.

    "Take your spouse to see this awful ham fisted love story because gender roles!"

    2016 called and said your opinions look like a topographical map of Utah, as Fox is bringing you the greatest love story every told.

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  • EchoEcho Moderator mod
    Ziggymon wrote: »
    wandering wrote: »
    I think it's time for the Batman pendulum (bat-pendulum) to swing back the other way - away from grittiness and back towards campiness

    I want a bright, stylized, colorful, goofy movie about Batman plus Robin that also has genuine heart and pathos

    Basically I want Wes Anderson to do a Batman movie

    I want a camp and colourful Batman in a dark and gritty world, or a dark and gritty Batman in a camp and colourful world.

    A dark and gritty movie with a mentally ill Batman that turns the movie into bright camp whenever he's in frame as Batman.

    Echo wrote: »
    Let they who have not posted about their balls in the wrong thread cast the first stone.
    ZiggymonPanda4Youoverride367
  • GvzbgulGvzbgul Ask me about my scrotalist agenda Registered User regular
    edited August 2015
    The Gotham PD and world of the Nolan films but the tv show Batman and Villains. The Police dislike Batman because he's ridiculous, and they hate the criminals too because they're one part silly and one part mass murders (this isn't even an exaggeration, they kill a bunch of people in the tv show and movie, it's just done in a silly g rated way). But the police are powerless against the Riddler's confusing riddles, the Joker's jack in the box traps and the Penguin's "entirely legal" campaign for mayor on the promise that he will 'legalise all crime". Only Batman can save us.

    Gvzbgul on
  • ThirithThirith Registered User regular
    I watched Hot Girls Wanted yesterday, and while I didn't think it was bad it definitely could've done with better direction. Its biggest misstep is its first five minutes IMO, which go for a bigger, brasher, more tabloid-style video essay format that screams at you about the pornification of modern mainstream culture. That beginning is simply not borne out by the rest of the film, which is much less about grand statements about pornography than the first couple of minutes suggests. There's been some criticism, e.g. on Vice, that the film went for lazy moral judgments about the pornographic industry, but I'd disagree with them: its critique is about a very specific segment of porn and how the way it's organised easily chews up and spits out naive, impressionable girls. It doesn't say that All Porn Is Bad, but it does say - and I think it makes a fair enough point here - that the am-pro porn segment easily pulls in naive young women, gives them at least relative freedom at first over their previous lives, but it also suggests to them that there's riches and a career to be had in this, when most of them quickly are only offered shoots that are nichey and that tend towards the more demeaning. I didn't come away from the film feeling that it was judgmental about the whole money-for-sex thing, although some of the people depicted are - what it judges is the illusions offered to these girls (and it's an illusion they seem to accept quite happily without examining it more closely) and the more dingy reality behind them.

    webp-net-resizeimage.jpg
    "Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
    TexiKen
  • Regina FongRegina Fong Allons-y, Alonso Registered User regular
    TexiKen wrote: »
    Next, that was frustrating. Hella interesting premise teased by a nice opening voice over and world building-turned chase scene, completely ruined by slow, dull, check the boxes hollywood moviemaking.

    Older actor sort of past his prime and big screen earning potential? check
    Young, not-as-known actress half his age as love interest, complete with over the top use of [instant pathos creating occupation with audience] dealing with [minority group]? check
    Older, well known actress as head of big government group who is tough because reasons and is a match for the protagonist but just phoning it in? check
    White, european, and therefore safe bad guys? Czech
    Old, acclaimed actor a few years from death apparently needing money for a pointless appearance? the saddest check of all
    A total Fuck. You. ending? check plus

    The relationship between Cage and Biehl feels totally one-sided and poorly executed to boot, with no real chemistry and it makes the middle of the film become a slog, bad guys come and go for plot purposes simply to let us remember there's something happening for the third act but you don't really care by then, cheap CGI and after the fact greenscreened stuff that must have been reshot because Cage might have been crazy on location that day, laughable ending.

    The flash forward stuff is interesting, and how it's used works. Most of the time. Like the opening casino work/chase, meeting Biehl for the first time, that's good. It's clearly a clever idea that Guy Ritchie stole for the Sherlock Holmes movies. But by the end of the movie the flashes are cheap looking and dull for no reason compared to the future stuff. It's literally just another take, but whatever. The guy who made this directed Die Another Day, which makes everything seem to fall into place upon further reflection.

    Nic Cage peaked at The Weather Man, National Treasure 2 being the only anomaly in that constant decline since.

    But this movie's ending, this movie's fucking ending.....


    I liked the ending. It told you everything you need to know.
    Even though it was a variation of the "It was all a dream" ending it establishes at the very end that the full extent of Cage's precognitive abilities is so totally godlike and omniscient that they will succeed. It is impossible that they cannot succeed. It's OK that the film ends right there and doesn't show you how it all plays out, because they've shown you that the protagonist cannot possibly fail because he's not just "sort of psychic" he is god-like.

    The twist isn't "It was only a dream" it's "Actually I was way over 9,000 all along so the action is superfluous... surprise!"

    DiannaoChongshryke
  • EchoEcho Moderator mod
    I liked the ending. It told you everything you need to know.
    Even though it was a variation of the "It was all a dream" ending it establishes at the very end that the full extent of Cage's precognitive abilities is so totally godlike and omniscient that they will succeed. It is impossible that they cannot succeed. It's OK that the film ends right there and doesn't show you how it all plays out, because they've shown you that the protagonist cannot possibly fail because he's not just "sort of psychic" he is god-like.

    The twist isn't "It was only a dream" it's "Actually I was way over 9,000 all along so the action is superfluous... surprise!"

    I wouldn't call it a deep movie, but I did like how they portrayed prescience by showing him exploring all potential paths at once and gaining the knowledge from all of them.

    The whole twist was
    that the ending was just another potential future path.

    Nice bit of scifi there.

    Echo wrote: »
    Let they who have not posted about their balls in the wrong thread cast the first stone.
    DiannaoChongRegina Fongshrykeoverride367
  • ZiggymonZiggymon Registered User regular
    Echo wrote: »
    Ziggymon wrote: »
    wandering wrote: »
    I think it's time for the Batman pendulum (bat-pendulum) to swing back the other way - away from grittiness and back towards campiness

    I want a bright, stylized, colorful, goofy movie about Batman plus Robin that also has genuine heart and pathos

    Basically I want Wes Anderson to do a Batman movie

    I want a camp and colourful Batman in a dark and gritty world, or a dark and gritty Batman in a camp and colourful world.

    A dark and gritty movie with a mentally ill Batman that turns the movie into bright camp whenever he's in frame as Batman.

    To be honest thats how I view the 60s Batman anyway.

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  • AstaerethAstaereth In the belly of the beastRegistered User regular
    edited August 2015
    I've said this before, but we don't need any more campy Batman, there's already tons of it. What's needed is light Batman, something more like a swashbuckling adventure that's fun but still fundamentally takes itself seriously.

    Astaereth on
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  • SorceSorce Registered User regular
    I'd just settle for a Batman that recognizes it's not a one-man mission. Like, Robin, Nightwing, Batgirl, Oracle... even Spoiler, Onyx, Red Hood, or Orpheus would be nice.

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  • FAQFAQ Registered User regular
    do we even need more batman, a break would be nice

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  • PreacherPreacher Registered User regular
    Sorce wrote: »
    I'd just settle for a Batman that recognizes it's not a one-man mission. Like, Robin, Nightwing, Batgirl, Oracle... even Spoiler, Onyx, Red Hood, or Orpheus would be nice.

    You need batman to be someone else, you need him to be something else...

    I would like some money because these are artisanal nuggets of wisdom philistine.

    Http:// pleasepaypreacher.net
  • SorceSorce Registered User regular
    Well, Ollie has not failed his city... mostly. Kinda.

    I mean, the Glades is fucked, but the rest is okay?

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  • DiannaoChongDiannaoChong Registered User regular
    edited August 2015
    Echo wrote: »
    Ziggymon wrote: »
    wandering wrote: »
    I think it's time for the Batman pendulum (bat-pendulum) to swing back the other way - away from grittiness and back towards campiness

    I want a bright, stylized, colorful, goofy movie about Batman plus Robin that also has genuine heart and pathos

    Basically I want Wes Anderson to do a Batman movie

    I want a camp and colourful Batman in a dark and gritty world, or a dark and gritty Batman in a camp and colourful world.

    A dark and gritty movie with a mentally ill Batman that turns the movie into bright camp whenever he's in frame as Batman.

    This is pretty close to what Super is. Didn't defendor try to do this as well?

    edit: super didnt go all campy, but defendor kind of did in his head, right?

    DiannaoChong on
    steam_sig.png
  • Harry DresdenHarry Dresden Registered User regular
    We need Batman with the Bat Family. The closest we've gotten with that was Batman and Robin in the movies. :(

    Sorce
  • TexiKenTexiKen Registered User regular
    Thirith wrote: »
    I watched Hot Girls Wanted yesterday, and while I didn't think it was bad it definitely could've done with better direction. Its biggest misstep is its first five minutes IMO, which go for a bigger, brasher, more tabloid-style video essay format that screams at you about the pornification of modern mainstream culture. That beginning is simply not borne out by the rest of the film, which is much less about grand statements about pornography than the first couple of minutes suggests. There's been some criticism, e.g. on Vice, that the film went for lazy moral judgments about the pornographic industry, but I'd disagree with them: its critique is about a very specific segment of porn and how the way it's organised easily chews up and spits out naive, impressionable girls. It doesn't say that All Porn Is Bad, but it does say - and I think it makes a fair enough point here - that the am-pro porn segment easily pulls in naive young women, gives them at least relative freedom at first over their previous lives, but it also suggests to them that there's riches and a career to be had in this, when most of them quickly are only offered shoots that are nichey and that tend towards the more demeaning. I didn't come away from the film feeling that it was judgmental about the whole money-for-sex thing, although some of the people depicted are - what it judges is the illusions offered to these girls (and it's an illusion they seem to accept quite happily without examining it more closely) and the more dingy reality behind them.

    The film could have been better if they had someone from the legit area of porn to compare to, someone who "graduated" from amateur to professional to set a baseline for what these girls are trying to achieve. Or rather, have the film take place in the Valley as opposed to Miami, which always seemed a bit weird, like it already knew the story it wanted to tell.

    I feel like the movie was so desperate to get in generic points (exploited youth, not thinking five minutes into the future), it didn't even get the standard stuff captured the right way. It wants to point out how dark and nasty that facial abuse stuff is, which is legitimate because it is nasty and hella dark, but it's centered around the oldest woman in the group, someone who was in her mid 20's and was the wise one of the group who knows exactly what she wanted to do and what she was getting into. It ignores the blonde girl who likes doing the porn because there was no angle to hang the story they wanted to tell there (when they could have just gone a different way, pulled a Queen of Versailles there), and instead focus on that one girl from Texas who clearly had something happen in her youth to push her this way that the film just doesn't want to explore. And the stuff with the family back home really feels like there was some directorial influence to get the end result as opposed to letting the characters interact normally.

    I think that might be my biggest gripe with the documentary, let the camera disappear, don't let it have this power to get the results you want it to have because you let it linger on people like a Barbara Walters special.

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  • Harry DresdenHarry Dresden Registered User regular
    FAQ wrote: »
    do we even need more batman, a break would be nice

  • daveNYCdaveNYC Why universe hate Waspinator? Registered User regular
    The only alt-title I could come up with off the top of my head is Double Tap (already used for a 2000 Hong Kong action movie).
    Echo wrote: »
    I liked the ending. It told you everything you need to know.
    Even though it was a variation of the "It was all a dream" ending it establishes at the very end that the full extent of Cage's precognitive abilities is so totally godlike and omniscient that they will succeed. It is impossible that they cannot succeed. It's OK that the film ends right there and doesn't show you how it all plays out, because they've shown you that the protagonist cannot possibly fail because he's not just "sort of psychic" he is god-like.

    The twist isn't "It was only a dream" it's "Actually I was way over 9,000 all along so the action is superfluous... surprise!"

    I wouldn't call it a deep movie, but I did like how they portrayed prescience by showing him exploring all potential paths at once and gaining the knowledge from all of them.

    I really liked how they dialed up the use of his precognition. It starts off cutesy with the casino scene, ramps up over the course of the movie with the chase scenes and ends up at the almost mind blowing stage with the climax. The movie had a lot of parts that weren't great, but it did a great job with his powers.

    Watched Harlock: Space Pirate. Pretty, but the characters were all horrible people. Had the Designated Hero trope problem.
    Harlock, who is supposed to be the good guy or tortured hero or something recruits crew by asking them "What we fight for." The correct answer is 'freedom', the wrong answer gets you dropped from great height onto some rocks. This is the guy you're supposed to be rooting for or something, and it gets worse from there.

    Shut up, Mr. Burton! You were not brought upon this world to get it!
    EchoGnome-Interruptus
  • PreacherPreacher Registered User regular


    Tell Oscar its time to mouth hug the yogurt cannon, this movie is off 8 hooks.

    I would like some money because these are artisanal nuggets of wisdom philistine.

    Http:// pleasepaypreacher.net
    Kristmas KthulhuemnmnmeRegina FongjoshgotroQuidcaligynefobJibbaHounThePantsAssociation
  • Kristmas KthulhuKristmas Kthulhu Registered User regular
    Both the video and your comment... words aren't enough...

  • PreacherPreacher Registered User regular
    I totally stole mouth hug the yogurt cannon from Amy Schumer.

    I would like some money because these are artisanal nuggets of wisdom philistine.

    Http:// pleasepaypreacher.net
    Panda4YouKristmas KthulhuHoun
  • AstaerethAstaereth In the belly of the beastRegistered User regular
    Preacher wrote: »


    Tell Oscar its time to mouth hug the yogurt cannon, this movie is off 8 hooks.

    I was skeptical at first, but then it rocked my face. It rocked my face all the way.
    Hoo-ah!

    ACsTqqK.jpg
    ElJeffeTommattKristmas KthulhuAsharad
  • Regina FongRegina Fong Allons-y, Alonso Registered User regular
    edited August 2015
    I can't say that I would watch that as an actual *film, but it may be the best commercial ever.



    *I mean feature film. It's obviously a short film, I don't mean to detract from that

    Regina Fong on
  • Linespider5Linespider5 ALL HAIL KING KILLMONGER Registered User regular
    Remember how the Max Headroom movie had the killer commercial that overloads your brain if you see more than twenty seconds of it?

    I think I just dodged death by playing that video on mute.

    Although if I ever stand up and take five steps it will kill me anyway.

    So It GoesCommander ZoomTexiKen
  • caligynefobcaligynefob DKRegistered User regular
    "Dave Franco is probably the best actor ever"

    That commercial has the budget of like a years worth of Danish movies.

    PS4 - Mrfuzzyhat
  • XeddicusXeddicus Registered User regular
    I didn't mind the ending of Next too much, myself. But then the rest of it didn't bother me either, so.

    "For no one - no one in this world can you trust. Not men. Not women. Not beasts...this you can trust."
  • Harry DresdenHarry Dresden Registered User regular

    override367
  • PreacherPreacher Registered User regular
    I can't say that I would watch that as an actual *film, but it may be the best commercial ever.



    *I mean feature film. It's obviously a short film, I don't mean to detract from that

    Its funny I won't play the games at all because I bought one a couple years ago and got all the video game football I need for a while, but I'll now eagerly await these commercials.

    I would like some money because these are artisanal nuggets of wisdom philistine.

    Http:// pleasepaypreacher.net
  • TexiKenTexiKen Registered User regular
    Restraint, good enough film. Admirable attempt to make a thriller with a small budget and some plot specific reasons for things not going certain ways to make it easily resolved, but the acting is everywhere on the map with fake shaky cam to boot and some pretty forced eroticism.

    Australia, small town, a thug and his stripper girlfriend are on the run from the cops after killing her boss/pimp and a gas station attendant, come across a mansion with lots of stuff, hold the agoraphobic owner hostage until he can give them money, which can only be done by having the girl (Teresa Palmer) pretend to be his rarely seen fiancee. If you read that you can sort of see where the film will be going a bit, what it attempts to be a surprise or a shocking twist isn't hidden to the audience at all.

    The story works. Agoraphobia distances the rich dude from the town while still having some anchors there, the two fugitives are flying by the seat of their pants and so there's a lot of give and take between the three where it sometimes borders into crazy to Stockholm Syndrome to love triangle, and there's that lingering sense of dread the film does a good job of showing when applicable.

    The movie's biggest problem is the acting. The guy who plays the rich guy is good, if it's a little too on the nose he's hiding something, but the problem comes with Palmer and the thug guy; they're supposed to be this young Bonnie & Clyde-ish couple, but Palmer constantly comes across like she's acting inside the film and is just doing an imitation of what she thinks a damaged young stripper might do or rather what a movie person might do on top of it, if that makes sense. So it comes across a completely bipolar constantly when the film is attempting a much more gradual increase in tension and characterization. Her thug boyfriend is all over the map and wildly hamming it up to where you don't have any reason to feel like he might have fallen into a trap or actually cares about Palmer. It's a completely erratic performance capped off with some crazy stuff in the third act and an ending that feels too on the nose for attempting ambiguity. I like the idea of the ending but it could have worked so much more in being subtler, if not capped off with a super ramped up climax.

    But there is a constant shaky cam here. But not real shaky cam, the shaky cam that seems to have been done in editing, so the long takes and wide shots are shaky for no reason other than someone cropped and shook the image to give it that look. Now, there's a call for shaky cam in the film proper, in many occasions, but I have no idea what the intent was here. Even establishing shots of outside int eh house in low angle views are shaky, as are naked shower scenes and watching the TV.

    But anyway, it's worth a watch, especially with Halloween coming up and you want something less bloody and more psychological, and shaky cam aside it can function as a how-to low budget movie these days, and you can see the potential in Palmer's role, and the house owner. You just have to put up with these things that start off as little nags but keep growing to be deliberately pissing you off actions by the filmmaker when I'd have settle for just interstitial cuts of the director flipping the audience off every ten minutes.

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  • FantastikaFantastika Betting That The Levee Will HoldRegistered User regular
    edited August 2015
    So, I saw two of the new releases this weekend. One was good in a surprising way, the other is just oof.

    The first one I saw was American Ultra. I went in kind of expecting a film in vein of Pineapple Express by way of The Bourne Identity and in that regard I was pretty disappointed. It's not really a laugh riot and the action isn't all that thrilling. Although I do admit that I liked the final action sequence in the convenience store. They use a pretty great single take shot that's pretty cool at one point during it. The directing for the rest of the film is kind of all over the place though. It seems like they couldn't decide on any one style of film or tone and just decided that they'd try them all.

    But you know which way the film works that surprised me, and this is totally down to the two lead performances, is the relationship between Eisenberg's and Sterwart's characters. It's acted tremendously well. They totally make it feel like their characters couldn't function without each other and mean the world to each other. It's kind of touching. I also have to give a shout out to Walton Goggins as well. He takes what should be a one-note character (He plays the main assassin hunting Eisenberg's character and he likes to laugh) and imbues him with a lot of depth and character that's not on the page. By the end of it I found myself hoping his character was gonna live through it. I think Goggins has gotta be in my top 5 working actors alive right now. Everything I see him in, he's almost never less than fantastic.

    The second one I saw was Sinister 2. Oof, where do I start? How about with what I liked, which wasn't much. I liked James Ransone in the film. That's it. That's one of the things I've always liked about these Blumhouse movies, and horror movies in general, is that they typically give character actors a chance to be the lead. You've got Ransone in this movie, Lin Shaye in the Insidious movies, Frank Grillo in The Purge: Anarchy, etc.

    On to what I didn't like. The script is probably the main thing, which is surprising because the director and writer from the first one wrote this one. The script makes such a major miscalculation with one of the two main storylines that it totally ruins this film as well as any future ones. Basically one of the storylines follows 2 brothers as that Slipknot-reject Bughuul tries to corrupt one of them. And in the process, it makes one of the major problem that plagues pretty much every horror movie sequel, it tries to explore and explain the methods of the monster behind the film. By delving into Bughuul's methods, it robs him of any power or aura that he might have. You should really only do that when you have absolutely run out of ideas for the series. I'm not sure if anyone here will get this reference, but imagine if Halloween was followed by Halloween 6 instead of Halloween 2 or Friday the 13th was followed by Friday the 13th Part 9. I also suspect, based on one of the home movies in this film, that he's a very big Live and Let Die fan. I just say it involves alligators and is probably the funniest scene in the film for all the wrong reasons.
    Remember all those ghost kids in the first one? Turns out they do all the work while Bughuul just hangs out in the shadows doing fuck-all except popping out and shouting peekaboo to Ransone's character once in a while. And it's not like the living kids get entranced or corrupted into killing their families by Bughuul, like is suggested in the first one. The ghost kids basically tell them that they have to kill their families and leave it to them to figure out how to do it.

    And it doesn't have an ending either. It just stops. Just Bughuul does his peekaboo thing and then credits. Doesn't have a conclusion, good or bad, for any of the surviving characters. Just so, so bad. So bad.

    On the whole, I'd say check out American Ultra when it comes to VOD, hits the cheap theatre or you get free tickets. When it comes to Sinister 2, don't check it out. Especially if you liked the first one. If someone tries to make you go see it, say by offering a free ticket, I suggest you call your local authorities and report them for attempted assault and/or kidnapping.

    Fantastika on
    GethRhalloTonnyPanda4You
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