Hate on Homicidal Optimus all you want, his sendoff to Megatron at the end of 3 was beautiful.
I forget, was that where he executed him point-blank with a shotgun to the face?
To be fair, optimus point blanks Megatron to the face with a shotgun and kills him, in the beast wars cartoon
1) Those characters are explicitly not Optimus and Megatron from the original cartoon.
2) Neither of them were voiced by the voice actors from the original cartoon.
3) I don't recall which episode you might be thinking of but both Optimus and Megatron are alive at the end of the series so you must be mis-remembering something.
Hmm he prob survives then but I remember the wrist mounted shotgun point blank
This type of shot is great because of the way it inspires empathy. We see the character in the context of his environment, which is important to understanding him; and we also see how he moves and where he looks without seeing his face or all of his face. The lack of direct information about what the character is feeling (because we can't see his expression) leads us to imagine what he's feeling, or what he could be feeling in this moment. And we base that decision on the information we're given, which again is context--all that background around him in the frame.
So this basic shot is used again and again because it literally encourages us to put ourselves in the character's shoes and speculate about his inner self based on what we know about his environment--and that construction of a person shaped by their environment is what Moonlight is all about. It's a brilliant example of form fulfilling function.
The 1999 sci-fi movie is coming back.
More Matrix? Bet on it.
It’s still not clear what shape the project will take, but sources tell The Hollywood Reporter that Warner Bros. is in the early stages of developing a relaunch of The Matrix, the iconic 1999 sci-fi movie that is considered one of the most original films in cinematic history, with Zak Penn in talks to write a treatment.
Sources say there is potential interest in Michael B. Jordan to star, but much must be done before the project is ready to go.
At this point, the Wachowski siblings, who wrote and directed the original and its two sequels, are not involved and the nature of their potential engagement with a new version has not been determined. Certainly, Warners would want the two filmmakers to give at minimum a blessing to the nascent project. The studio had no comment.
***
While promoting John Wick: Chapter 2, Reeves said he would be open to returning for another installment of the franchise if the Wachowskis were involved. "They would have to write it and direct it. And then we’d see what the story is, but yeah, I dunno, that’d be weird, but why not?” he told Yahoo Movies. However, it is likely that Warners will look elsewhere to attract an A-list director and star.
While some at Warners consider the title among the studio’s sacrosanct properties, such as Casablanca, others see a need to redevelop it in an environment where studios are desperately looking for ways to monetize their libraries and branded IP is hard to come by.
The idea of adapting The Matrix as a television series was nixed in recent months. But Warner Bros. sees a model in what Disney and Lucasfilm have done with Star Wars, exploring the hidden corners of the universe with movies such as Rogue One: A Star Wars Story or the in-production young Han Solo film. Perhaps a young Morpheus movie could come out of the exploration, as an example.
Exploring the world post truce would be interesting. "Young" anybody sounds terrible. I know everything about Morpheus that I ever wanted to know.
It all depends on how it's made, I'm up for anything as long as it's top quality. They can literally do anything with this, and they should consider an anime spin-off series too.
edit: They should do an MCU/Disney Star Wars, do tv series, cartoons and different eras. The potential is off the charts.
I am pretty sure I have no interest in watching more of The Matrix. The original was brilliant, the sequels were shades of terrible, proving that the thing was done and dusted in one film. The best story you can tell in the setting of The Matrix is the one they told in the first movie.
I am pretty sure I have no interest in watching more of The Matrix. The original was brilliant, the sequels were shades of terrible, proving that the thing was done and dusted in one film. The best story you can tell in the setting of The Matrix is the one they told in the first movie.
This I kind of disagree with. That was what the best the Wachowskis could come up with, but they're not the only people in the world capable of good story telling and this is a setting which has barely explored its history or its world (poorly) in the movies. Have you seen the Animatrix? Its world building alone completely blows away the movie trilogy's, give creative people access to that with a budget and everything's on the table.
edit: Think about what directors like the Russos, Iñárritu, Fede Alvarez, Justin Lin etc could do with that world.
I dunno... If a world is relatively thin* to begin with, then it honestly doesn't make much difference to me whether a talented filmmaker elaborates on that world, making it more rich, or whether they work on creating or adding to a different world. I liked some of the Animatrix because those shorts did some interesting worldbuilding, but it ended up being relatively irrelevant that the fictional world they added to happened to be the one of The Matrix.
*It's probably less that the world of The Matrix is thin than that it's a virtual setting where anything goes - and this makes it rather arbitrary and incoherent. In that respect, The Animatrix didn't give me much of an idea of a coherent world either. It was cool as a series of "What if?"-type scenarios inspired by the movie, but the various takes on the Matrix and its world were so different, they might as well have been different worlds altogether.
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
In general I don't go a bomb on films based on the premise of 'more stories in the world of X', especially when so much of what made the original great was the gradual reveal of that world. The process of showing the world of the Matrix, learning what it was, learning the rules, watching them be bent and then broken was a terrific journey. Further stories can't pull that trick again, so we're left with filling in corners of the world, which doesn't really interest me.
I have no emotional attachment to the world of The Matrix. I love the first movie, though. I am not really one of those people who goes crazy for the worlds in which stories are set so much as the story itself. There are exceptions (i.e. Star Trek), but those were places set up in the first place to tell many stories. Rebooting The Matrix or pushing out more movies set in that world feels too egregiously like a studio creating product rather than telling stories.
I am pretty sure I have no interest in watching more of The Matrix. The original was brilliant, the sequels were shades of terrible, proving that the thing was done and dusted in one film. The best story you can tell in the setting of The Matrix is the one they told in the first movie.
This I kind of disagree with. That was what the best the Wachowskis could come up with, but they're not the only people in the world capable of good story telling and this is a setting which has barely explored its history or its world (poorly) in the movies. Have you seen the Animatrix? Its world building alone completely blows away the movie trilogy's, give creative people access to that with a budget and everything's on the table.
edit: Think about what directors like the Russos, Iñárritu, Fede Alvarez, Justin Lin etc could do with that world.
And then think of what Michael Bay and Zach Snyder could do with the same world.
Cause you know that WB would want "blockbuster" directors to helm a cash cow franchise like the Matrix.
Nuff said.
The sky was full of stars, every star an exploding ship. One of ours.
I appreciate good world-building, but a film or book whose main selling point is the 'world-building' is pretty uninteresting to me.
Yeah, that's something I tend to find grating about video games - they often mistake worldbuilding for good storytelling, and a huge quantity of material for *good* worldbuilding. For the purpose of storytelling, I very much prefer worldbuilding by implication, not the amassing of details and specifics. That may make for a good RPG sourcebook (and even that isn't guaranteed), but it doesn't make for a good story.
Thirith on
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
2 and 3 weren't nearly as good, but they had interesting ideas. The Oracle's gambit changed the nature of the Matrix going forward. There are lots of ways you could take things from there. Humans that are fully aware of the Matrix and choose to remain, humans outside trying to be independent, Programs that hate, Programs that sympathize. The Matrix itself can be more obvious and magical. If somebody had a story they wanted to tell there, it could be interesting.
The Matrix Reloaded was the only time I've ever wanted to walk out of a movie. The only thing that stopped me was that I was with a bunch of friends and one had actually paid for my ticket.
I dunno... If a world is relatively thin* to begin with, then it honestly doesn't make much difference to me whether a talented filmmaker elaborates on that world, making it more rich, or whether they work on creating or adding to a different world. I liked some of the Animatrix because those shorts did some interesting worldbuilding, but it ended up being relatively irrelevant that the fictional world they added to happened to be the one of The Matrix.
*It's probably less that the world of The Matrix is thin than that it's a virtual setting where anything goes - and this makes it rather arbitrary and incoherent. In that respect, The Animatrix didn't give me much of an idea of a coherent world either. It was cool as a series of "What if?"-type scenarios inspired by the movie, but the various takes on the Matrix and its world were so different, they might as well have been different worlds altogether.
Animatrix is an example of what a good example was of other people building on the IP and doing their own take, which I'd love to see. I can take or leave them being tied to the movies 100%. If it fits with the franchise, and it's high quality I'm good.
Yeah, that's something I tend to find grating about video games - they often mistake worldbuilding for good storytelling, and a huge quantity of material for *good* worldbuilding. For the purpose of storytelling, I very much prefer worldbuilding by implication, not the amassing of details and specifics. That may make for a good RPG sourcebook (and even that isn't guaranteed), but it doesn't make for a good story.
All I'm saying is that world building is a plus to use for good stories, as well as that it can be added to - good or bad. When the world building is done well and it has the talent and script to back that up, we get good movies and tv shows.
I appreciate good world-building, but a film or book whose main selling point is the 'world-building' is pretty uninteresting to me.
That was a selling point, not the selling point. That's why I'm being vague, in the right hands they can literally do anything with the IP. All that matters is that the people making it are talented and that the quality is high.
In general I don't go a bomb on films based on the premise of 'more stories in the world of X', especially when so much of what made the original great was the gradual reveal of that world. The process of showing the world of the Matrix, learning what it was, learning the rules, watching them be bent and then broken was a terrific journey. Further stories can't pull that trick again, so we're left with filling in corners of the world, which doesn't really interest me.
I have no emotional attachment to the world of The Matrix. I love the first movie, though. I am not really one of those people who goes crazy for the worlds in which stories are set so much as the story itself. There are exceptions (i.e. Star Trek), but those were places set up in the first place to tell many stories. Rebooting The Matrix or pushing out more movies set in that world feels too egregiously like a studio creating product rather than telling stories.
That's only one trick among many talented Hollywood creators can conjure up. The Matrix worked because of that trick, but it doesn't have to be a one trick pony.
A softer reboot with the right world building will be able to explore that world properly, and if they play it right make it coherent.
The thing is the Matrix was never entirely devoid of selling itself to the public, key points about the film were redesigned so the public could digest it easier (that's why we got the human battery explanation the Wachowski's original idea was less simplistic), and a lot of the iconic scenes work because it's cool rather than coherent ideas. What they did right was package it with their artistic talent. This isn't a skill that nobody in Hollywood can reproduce, though the harder part will be them hiring people who won't screw this up, because they're Warner Bros.
It's a hell of lot tougher to do a good sequel or reboot without solid world building to back it up, while it wasn't perfect the Wachowski's did it perfectly with the first movie. Then everything falls apart in the sequels. The movie was also one of those which is lightning in the bottle, as well. There's no point remaking the first movie, that's already been told so they may as well explore a new angle on the franchise.
Star Trek's early days actually did not originally have sturdy world building, in TOS the show went through many changes before it to what it resembles today. This is also why the tv show format is superior to films, they can use the movie/s for a springboard or inspiration then do their own thing.
Yeah, that's something I tend to find grating about video games - they often mistake worldbuilding for good storytelling, and a huge quantity of material for *good* worldbuilding. For the purpose of storytelling, I very much prefer worldbuilding by implication, not the amassing of details and specifics. That may make for a good RPG sourcebook (and even that isn't guaranteed), but it doesn't make for a good story.
I'm not mistaking world building for good storytelling, merely saying they can use that world building to create good storytelling. With the right person this isn't either/or.
Have you seen GiTS Stand Alone Complex? I thought that did a great job of exploring a world's details with excellent story telling. Various tv series and cartoons do this right, as well. Nor do they have to spell everything out with excruciating detail.
edit: The world building in Fury Road and John Wick is amazing by merging with the story and the performances, making the films more intriguing and feeling "lived in."
Harry Dresden on
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cj iwakuraThe Rhythm RegentBears The Name FreedomRegistered Userregular
Hate on Homicidal Optimus all you want, his sendoff to Megatron at the end of 3 was beautiful.
I forget, was that where he executed him point-blank with a shotgun to the face?
I think he eviscerated him, but close.
Okay, I guess that was a different Decepticon in the same film that Optimus did that to, then.
After Megatron saves Optimus's life, Optimus repays him with an axe to the face. He then picks up Megatron's gun and gives Sentinel Prime one in the back of the head as he lays on the ground, begging.
I mean, I heard about people in this thread joking about this scene, but I thought it had been exaggerated; jeez did nobody during the making of this go "you know, this might not be in Optimus's character"; obviously we need a deleted scene with 2 autobots in the background asking each other are we the bad guys (obligatory Mitchell and Webb clip)
Which reminds me: what do people here think of Speed Racer? I seem to remember that it baffled critics at the time, but there are some who are very vocal in their defense of the movie.
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
Which reminds me: what do people here think of Speed Racer? I seem to remember that it baffled critics at the time, but there are some who are very vocal in their defense of the movie.
Speed Racer is one of my favorite movies. It's beautiful, fun, super weird, and surprisingly emotionally effective. It's probably one of the only great adaptations of a thing to a different thing that I've ever seen. It captures the spirit of the dumb show perfectly.
If you let Speed Racer get you invested in its stakes, the climax of that movie is incredibly cathartic
Good to hear that. As I've said, I know there are people who loved the film, yet the reviews I've found from critics whose opinions I respect are pretty damning.
Well, since the Blu-ray cost £2, at worst I'll just have wasted two hours. :P
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
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TexiKenDammit!That fish really got me!Registered Userregular
It's one of the few movies I've found visually stunning, and this was just in the DVD era, before blu ray.
And the story feels sincere with the camerawork and the ever present green screen doesn't seem so blatant as something like Sin City
Good to hear that. As I've said, I know there are people who loved the film, yet the reviews I've found from critics whose opinions I respect are pretty damning.
Well, since the Blu-ray cost £2, at worst I'll just have wasted two hours. :P
my advice for watching Speed Racer is: Be open to how earnest it is, don't let the kid stuff annoy you too much (which is the easiest thing to be put off by because it's so authentic to the original show), and definitely watch it on bluray
The villain is played by Roger Allam at peak scene chewing villain and John Goodman at peak Great Dad
One of my big objections to a Matrix reboot is that I doubt they think audiences are now smart enough to grasp the original "human brains as Beowulf cluster" idea, so we're probably just going with the thermodynamically-impossible "batteries" thing again.
And if they're not going to fix that, then why bother?
(I know, I know, to make more money.)
Commander Zoom on
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MalReynoldsThe Hunter S Thompson of incredibly mild medicinesRegistered Userregular
Which reminds me: what do people here think of Speed Racer? I seem to remember that it baffled critics at the time, but there are some who are very vocal in their defense of the movie.
Speed Racer is one of my favorite movies. It's beautiful, fun, super weird, and surprisingly emotionally effective. It's probably one of the only great adaptations of a thing to a different thing that I've ever seen. It captures the spirit of the dumb show perfectly.
If you let Speed Racer get you invested in its stakes, the climax of that movie is incredibly cathartic
It's the only movie I ever walked out on, but also I was 20 and still overcoming rampant cynicism. This post has convinced me to give it a re-watch.
"A new take on the epic fantasy genre... Darkly comic, relatable characters... twisted storyline."
"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. Now in Paperback!
One of my big objections to a Matrix reboot is that I doubt they think audiences are now smart enough to grasp the original "human brains as Beowulf cluster" idea, so we're probably just going with the thermodynamically-impossible "batteries" thing again.
And if they're not going to fix that, then why bother?
(I know, I know, to make more money.)
I think I'll never get this, at least not if it goes beyond a pet peeve. Thermodynamics, shmermodynamics. As a metaphor the battery is great, especially in terms of how Morpheus' speech is structured. It's not like The Matrix is a great example of hard sci-fi apart from that bit, is it?
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
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jungleroomxIt's never too many graves, it's always not enough shovelsRegistered Userregular
One of my big objections to a Matrix reboot is that I doubt they think audiences are now smart enough to grasp the original "human brains as Beowulf cluster" idea, so we're probably just going with the thermodynamically-impossible "batteries" thing again.
And if they're not going to fix that, then why bother?
(I know, I know, to make more money.)
As much as I often deride the "movie going public", this is extremely uncharitable.
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AstaerethIn the belly of the beastRegistered Userregular
Speed Racer has some issues but is a visual marvel pointing the way toward a new kind of digital collage cinema that few have really embraced (although Scott Pilgrim arguably caught that football and spiked it in the endzone).
Which reminds me: what do people here think of Speed Racer? I seem to remember that it baffled critics at the time, but there are some who are very vocal in their defense of the movie.
Speed Racer is one of my favorite movies. It's beautiful, fun, super weird, and surprisingly emotionally effective. It's probably one of the only great adaptations of a thing to a different thing that I've ever seen. It captures the spirit of the dumb show perfectly.
If you let Speed Racer get you invested in its stakes, the climax of that movie is incredibly cathartic
It's the only movie I ever walked out on, but also I was 20 and still overcoming rampant cynicism. This post has convinced me to give it a re-watch.
It is a great example of crazy art.
I think (at the time) a lot of people had this warm fuzzy memory of Speed Racer and watching it as a kid when some things never mattered to you because fast stuff and cartoons and cool cars, and then when they see if as an adult they get upset because it was actually really close to the source material, but now they're adults and much more cynical (like you said).
I hated it the first time, but once i got over myself and gave up my brain for the ride I found i really enjoy its absolutely bonkers visuals and wacky storyline.
I'd rather have a push for a Speed Racer reboot than a Matrix one
Why attempt to improve on perfection?
Instead of Speed saying "get that weak shit outta here!", he can say "sorry not sorry"
the best part of Speed cursing in the movie is he is portrayed as such an innocent character and it sounds exactly like a child trying out a swear for the first time
Good to hear that. As I've said, I know there are people who loved the film, yet the reviews I've found from critics whose opinions I respect are pretty damning.
Well, since the Blu-ray cost £2, at worst I'll just have wasted two hours. :P
my advice for watching Speed Racer is: Be open to how earnest it is, don't let the kid stuff annoy you too much (which is the easiest thing to be put off by because it's so authentic to the original show), and definitely watch it on bluray
The villain is played by Roger Allam at peak scene chewing villain and John Goodman at peak Great Dad
I remember reading about the thesis that John Goodman is one of our great living supporting actors.
Good to hear that. As I've said, I know there are people who loved the film, yet the reviews I've found from critics whose opinions I respect are pretty damning.
Well, since the Blu-ray cost £2, at worst I'll just have wasted two hours. :P
my advice for watching Speed Racer is: Be open to how earnest it is, don't let the kid stuff annoy you too much (which is the easiest thing to be put off by because it's so authentic to the original show), and definitely watch it on bluray
The villain is played by Roger Allam at peak scene chewing villain and John Goodman at peak Great Dad
I remember reading about the thesis that John Goodman is one of our great living supporting actors.
I've yet to see evidence to the contrary.
Not a supporting role, but I wish I can forget the Flinstones movie(s)
Which reminds me: what do people here think of Speed Racer? I seem to remember that it baffled critics at the time, but there are some who are very vocal in their defense of the movie.
The SE++ movie thread is overwhelmingly positive about Speed Racer.
The villain is played by Roger Allam at peak scene chewing villain
I saw him as the villain in Aladdin (Christmas panto) at the Old Vic. Sadly, I barely remember him. In fact, the only thing I remember vividly was that Ian McKellen has surprisingly nice legs, which he showed often and to great effect, as he played Widow Twankey.
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
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Hmm he prob survives then but I remember the wrist mounted shotgun point blank
This type of shot is great because of the way it inspires empathy. We see the character in the context of his environment, which is important to understanding him; and we also see how he moves and where he looks without seeing his face or all of his face. The lack of direct information about what the character is feeling (because we can't see his expression) leads us to imagine what he's feeling, or what he could be feeling in this moment. And we base that decision on the information we're given, which again is context--all that background around him in the frame.
So this basic shot is used again and again because it literally encourages us to put ourselves in the character's shoes and speculate about his inner self based on what we know about his environment--and that construction of a person shaped by their environment is what Moonlight is all about. It's a brilliant example of form fulfilling function.
http://www.hollywoodreporter.com/heat-vision/matrix-reboot-works-at-warner-bros-986292
I'd be interested in a tv show via Netflix.
It all depends on how it's made, I'm up for anything as long as it's top quality. They can literally do anything with this, and they should consider an anime spin-off series too.
edit: They should do an MCU/Disney Star Wars, do tv series, cartoons and different eras. The potential is off the charts.
Choose Your Own Chat 1 Choose Your Own Chat 2 Choose Your Own Chat 3
This I kind of disagree with. That was what the best the Wachowskis could come up with, but they're not the only people in the world capable of good story telling and this is a setting which has barely explored its history or its world (poorly) in the movies. Have you seen the Animatrix? Its world building alone completely blows away the movie trilogy's, give creative people access to that with a budget and everything's on the table.
edit: Think about what directors like the Russos, Iñárritu, Fede Alvarez, Justin Lin etc could do with that world.
*It's probably less that the world of The Matrix is thin than that it's a virtual setting where anything goes - and this makes it rather arbitrary and incoherent. In that respect, The Animatrix didn't give me much of an idea of a coherent world either. It was cool as a series of "What if?"-type scenarios inspired by the movie, but the various takes on the Matrix and its world were so different, they might as well have been different worlds altogether.
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
I have no emotional attachment to the world of The Matrix. I love the first movie, though. I am not really one of those people who goes crazy for the worlds in which stories are set so much as the story itself. There are exceptions (i.e. Star Trek), but those were places set up in the first place to tell many stories. Rebooting The Matrix or pushing out more movies set in that world feels too egregiously like a studio creating product rather than telling stories.
Choose Your Own Chat 1 Choose Your Own Chat 2 Choose Your Own Chat 3
Choose Your Own Chat 1 Choose Your Own Chat 2 Choose Your Own Chat 3
And then think of what Michael Bay and Zach Snyder could do with the same world.
Cause you know that WB would want "blockbuster" directors to helm a cash cow franchise like the Matrix.
Nuff said.
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
Never saw Revolutions, obviously.
Steam | XBL
Animatrix is an example of what a good example was of other people building on the IP and doing their own take, which I'd love to see. I can take or leave them being tied to the movies 100%. If it fits with the franchise, and it's high quality I'm good.
All I'm saying is that world building is a plus to use for good stories, as well as that it can be added to - good or bad. When the world building is done well and it has the talent and script to back that up, we get good movies and tv shows.
That was a selling point, not the selling point. That's why I'm being vague, in the right hands they can literally do anything with the IP. All that matters is that the people making it are talented and that the quality is high.
That's only one trick among many talented Hollywood creators can conjure up. The Matrix worked because of that trick, but it doesn't have to be a one trick pony.
A softer reboot with the right world building will be able to explore that world properly, and if they play it right make it coherent.
The thing is the Matrix was never entirely devoid of selling itself to the public, key points about the film were redesigned so the public could digest it easier (that's why we got the human battery explanation the Wachowski's original idea was less simplistic), and a lot of the iconic scenes work because it's cool rather than coherent ideas. What they did right was package it with their artistic talent. This isn't a skill that nobody in Hollywood can reproduce, though the harder part will be them hiring people who won't screw this up, because they're Warner Bros.
It's a hell of lot tougher to do a good sequel or reboot without solid world building to back it up, while it wasn't perfect the Wachowski's did it perfectly with the first movie. Then everything falls apart in the sequels. The movie was also one of those which is lightning in the bottle, as well. There's no point remaking the first movie, that's already been told so they may as well explore a new angle on the franchise.
Star Trek's early days actually did not originally have sturdy world building, in TOS the show went through many changes before it to what it resembles today. This is also why the tv show format is superior to films, they can use the movie/s for a springboard or inspiration then do their own thing.
True.
I'm not mistaking world building for good storytelling, merely saying they can use that world building to create good storytelling. With the right person this isn't either/or.
Have you seen GiTS Stand Alone Complex? I thought that did a great job of exploring a world's details with excellent story telling. Various tv series and cartoons do this right, as well. Nor do they have to spell everything out with excruciating detail.
edit: The world building in Fury Road and John Wick is amazing by merging with the story and the performances, making the films more intriguing and feeling "lived in."
That's the best part of John Wick, though.
I mean, I heard about people in this thread joking about this scene, but I thought it had been exaggerated; jeez did nobody during the making of this go "you know, this might not be in Optimus's character"; obviously we need a deleted scene with 2 autobots in the background asking each other are we the bad guys (obligatory Mitchell and Webb clip)
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
Speed Racer is one of my favorite movies. It's beautiful, fun, super weird, and surprisingly emotionally effective. It's probably one of the only great adaptations of a thing to a different thing that I've ever seen. It captures the spirit of the dumb show perfectly.
If you let Speed Racer get you invested in its stakes, the climax of that movie is incredibly cathartic
Well, since the Blu-ray cost £2, at worst I'll just have wasted two hours. :P
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
And the story feels sincere with the camerawork and the ever present green screen doesn't seem so blatant as something like Sin City
my advice for watching Speed Racer is: Be open to how earnest it is, don't let the kid stuff annoy you too much (which is the easiest thing to be put off by because it's so authentic to the original show), and definitely watch it on bluray
The villain is played by Roger Allam at peak scene chewing villain and John Goodman at peak Great Dad
And if they're not going to fix that, then why bother?
(I know, I know, to make more money.)
It's the only movie I ever walked out on, but also I was 20 and still overcoming rampant cynicism. This post has convinced me to give it a re-watch.
"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. Now in Paperback!
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
As much as I often deride the "movie going public", this is extremely uncharitable.
It is a great example of crazy art.
I think (at the time) a lot of people had this warm fuzzy memory of Speed Racer and watching it as a kid when some things never mattered to you because fast stuff and cartoons and cool cars, and then when they see if as an adult they get upset because it was actually really close to the source material, but now they're adults and much more cynical (like you said).
I hated it the first time, but once i got over myself and gave up my brain for the ride I found i really enjoy its absolutely bonkers visuals and wacky storyline.
Critical Failures - Havenhold Campaign • August St. Cloud (Human Ranger)
Why attempt to improve on perfection?
Instead of Speed saying "get that weak shit outta here!", he can say "sorry not sorry"
the best part of Speed cursing in the movie is he is portrayed as such an innocent character and it sounds exactly like a child trying out a swear for the first time
I remember reading about the thesis that John Goodman is one of our great living supporting actors.
I've yet to see evidence to the contrary.
Not a supporting role, but I wish I can forget the Flinstones movie(s)
The SE++ movie thread is overwhelmingly positive about Speed Racer.
Rock Band DLC | GW:OttW - arrcd | WLD - Thortar
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods