TexiKenDammit!That fish really got me!Registered Userregular
The Wrong Missy (Netflix) is another b-team Happy Madison Netflix movie, so if you're interested in those types of movies, you would like this. By the books PG-13 that dabbles its toe into R comedy about guy who accidentally brings the wrong girl he texts to a weekend vacation where his promotion is on the line at the same time, the only thing it's missing is Bosstones' The Impression That I Get. It's more polished than Father of the Year was, but not as funny, a quintessential weekend nap movie. It's running hardcore on Netflix/Sandler budget operation ie film the movie at a hawaiin resort to put the cast and crew up at the same time, film at small locations near trendy cities, really scrimp on the music and soundtrack which will make you pay more attention to, and freak out more that this goatee-less David Spade is 56 and after you have your existential crisis be thankful Molly Sims is still classy. It also has a bunch of other people you've seen before wanting in on that EZ Sandler cheese, including Sarah Chalke and Vanilla Ice this time around, but a lot of the movie feels like it just halts plot points at a whim. It doesn't do anything clever with the story or relationships but it gets a few dumb laughs from me like the shadow dancing.
It knows what it is, what you expect of it, so for a background movie it's not bad. It just exists. The Kix cereal of movies.
so, yet another case of "[studio] paid for me and some of my friends to go on vacation and shoot some footage while we did."
gotta respect the hustle.
I'm a little more critical of this than I used to be. Sandler has shown he can bring it when he wants to so it's a shame to see his talent not put to use. I ain't sayingn he owes anyone anything but why not do good work if you can?
Criterion spine #946: Eight Hours Don't Make a Day
This is not a film, but a 1972 miniseries by Rainer Werner Fassbinder that runs five feature-length episodes. Apparently it was planned to be eight parts long, but the latter episodes were cancelled. It's about a middle-class German family, whose lives are changed when their son finds a new girlfriend.
Fassbinder is one of the more fascinating cases in German cinema, a hyper-prolific, cocaine-fueled, queer prodigy who was aesthetically ambitious and always making cynical, darkly comedic, and tragically entertaining stories about racism, politics, and other social problems in modern and recent historical (like wartime and postwar) Germany. His stories revolved around people being cruel and unfair to one another in order to illustrate a social or human truth. Eight Hours Don't Make a Day starts this way, at a drunken birthday party for the family Grandma, with family members loudly at one another's throats in that mean, half-joking way. I was prepared and even anticipating another dynamic and acidic chamber piece.
But this series switches its rhythm quickly with the introduction of Marion, a curly wig-wearing girl played by Fassbinder regular Hanna Schygulla, whom family son Joachim invites to the party while going to pick up more booze. It almost immediately becomes a comedy about human decency. Each episode is either fully or partially focused on a couple finding love or understanding between each other. The first is about young love. The second is about an elderly couple trying to build a life with one another. Another episode is about Joachim's sister trying to leave an abusive marriage. Joachim's job as a machinist is also a major focus in a majority of the episodes, as he and his coworkers negotiate and protest for fairer pay and treatment.
The characters are wonderfully written and cast. Fassbinder's troupe were always an oblong bunch, bending to whatever aesthetic or tonal goal he had in mind, but here they inhabit the roles of everyday comedy so well. His visual style is reduced somewhat to account for the relaxed feel of the drama, but shots are still punctuated with extremely intelligent reframing, camera movement, and cheeky zooms. It's the warmest thing he's made; an effortless seeming character piece about domestic happiness and labour. Every episode ends with a shot of a sun rising over a factory, and everytime it hit I felt a deep appreciation for this work and its earnest messaging of compassion and togetherness. It's one of the best things Fassbinder made.
Watching Knives Out and at about 28 minutes in they're in a car it cuts ahead to them being in the house all of the sudden like it's 45 minutes later when more has been revealed or something. Is this intentional or my playback is screwy?
Watching Knives Out and at about 28 minutes in they're in a car it cuts ahead to them being in the house all of the sudden like it's 45 minutes later when more has been revealed or something. Is this intentional or my playback is screwy?
The Wrong Missy (Netflix) is another b-team Happy Madison Netflix movie, so if you're interested in those types of movies, you would like this. By the books PG-13 that dabbles its toe into R comedy about guy who accidentally brings the wrong girl he texts to a weekend vacation where his promotion is on the line at the same time, the only thing it's missing is Bosstones' The Impression That I Get. It's more polished than Father of the Year was, but not as funny, a quintessential weekend nap movie. It's running hardcore on Netflix/Sandler budget operation ie film the movie at a hawaiin resort to put the cast and crew up at the same time, film at small locations near trendy cities, really scrimp on the music and soundtrack which will make you pay more attention to, and freak out more that this goatee-less David Spade is 56 and after you have your existential crisis be thankful Molly Sims is still classy. It also has a bunch of other people you've seen before wanting in on that EZ Sandler cheese, including Sarah Chalke and Vanilla Ice this time around, but a lot of the movie feels like it just halts plot points at a whim. It doesn't do anything clever with the story or relationships but it gets a few dumb laughs from me like the shadow dancing.
It knows what it is, what you expect of it, so for a background movie it's not bad. It just exists. The Kix cereal of movies.
It is bad, if for no other reason than the multiple instances of Spade's character waking up to Missy fondling (and in one case downright having sex with) him.
Oh yeah. The first time that happens is after she fucking tranquilizes him. She does this by shoving a horse tranq pill in his mouth and making him swallow it.
Man the train from BttF III is so freaking cool. It has a big glowy flux capacitor in front of the smokestack. I feel like you just don't see elaborately designed props like that anymore.
+1
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FencingsaxIt is difficult to get a man to understand, when his salary depends upon his not understandingGNU Terry PratchettRegistered Userregular
Man the train from BttF III is so freaking cool. It has a big glowy flux capacitor in front of the smokestack. I feel like you just don't see elaborately designed props like that anymore.
Man the train from BttF III is so freaking cool. It has a big glowy flux capacitor in front of the smokestack. I feel like you just don't see elaborately designed props like that anymore.
Inquisitor772 x Penny Arcade Fight Club ChampionA fixed point in space and timeRegistered Userregular
I read an article recently in Esquire which mentioned that Fast & Furious was the first action movie tentpole franchise that had "true colorblind casting". I'm not sure that's actually true, but it's an interesting proposition...
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TexiKenDammit!That fish really got me!Registered Userregular
I read an article recently in Esquire which mentioned that Fast & Furious was the first action movie tentpole franchise that had "true colorblind casting". I'm not sure that's actually true, but it's an interesting proposition...
Men In Black dabs on that assertion and I don't even like that franchise. Unless we're getting into the weird modern day every year/other year franchises.
Whatever the case Fast & Furious sucks and is the worst F&F movie it should only be the first action movie to suck to the power of Nos.
edit: just to be clear, that's Fast 4, the first one is golden.
Saying something had "True" anything is basically no true scottsmaning the argument from the start to make your point. "I have decided this movie fits a criteria I have created for it."
I mean the franchise starred Paul Walker for fuck sake, Paul god damn Walker. PAUL WALKER!
I would like some money because these are artisanal nuggets of wisdom philistine.
I read an article recently in Esquire which mentioned that Fast & Furious was the first action movie tentpole franchise that had "true colorblind casting". I'm not sure that's actually true, but it's an interesting proposition...
Men In Black dabs on that assertion and I don't even like that franchise. Unless we're getting into the weird modern day every year/other year franchises.
Whatever the case Fast & Furious sucks and is the worst F&F movie it should only be the first action movie to suck to the power of Nos.
edit: just to be clear, that's Fast 4, the first one is golden.
MIB 2, which still didn't have half as diverse a cast as F&F and came out the year after.
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TexiKenDammit!That fish really got me!Registered Userregular
If we're going by Fast 4, that's the fourth film of a franchise, where they had to switch out the cast in the second movie because only Paul Walker and his FBI handler came back, and the third one was a whole new cast on another continent with Diesel returning for 30 seconds and to get the rights to Riddick.
So this is trying to praise diversity that really came about from penny pinching and keeping a franchise alive by any means necessary, two things that actually ruin movies. It was only through sheer luck with Fast Five aka The Brazillian Job that it became an Avengers level contender.
If we're going by Fast 4, that's the fourth film of a franchise, where they had to switch out the cast in the second movie because only Paul Walker and his FBI handler came back, and the third one was a whole new cast on another continent with Diesel returning for 30 seconds and to get the rights to Riddick.
So this is trying to praise diversity that really came about from penny pinching and keeping a franchise alive by any means necessary, two things that actually ruin movies. It was only through sheer luck with Fast Five aka The Brazillian Job that it became an Avengers level contender.
Isn't that what color blind means? If you set out to have a diverse cast, that's not color blind. A random hodgepodge that happens to be diverse is color blind casting. It's not better, it's just a lucky coincidence.
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MonwynApathy's a tragedy, and boredom is a crime.A little bit of everything, all of the time.Registered Userregular
I read an article recently in Esquire which mentioned that Fast & Furious was the first action movie tentpole franchise that had "true colorblind casting". I'm not sure that's actually true, but it's an interesting proposition...
Men In Black dabs on that assertion and I don't even like that franchise. Unless we're getting into the weird modern day every year/other year franchises.
Whatever the case Fast & Furious sucks and is the worst F&F movie it should only be the first action movie to suck to the power of Nos.
edit: just to be clear, that's Fast 4, the first one is golden.
Men in Black had one good movie, one kinda crappy movie, and another one happened like twenty years later that I don't think anyone saw. It's not much of a "franchise," and the only notable PoC character is Will Smith.
If we're going by Fast 4, that's the fourth film of a franchise, where they had to switch out the cast in the second movie because only Paul Walker and his FBI handler came back, and the third one was a whole new cast on another continent with Diesel returning for 30 seconds and to get the rights to Riddick.
So this is trying to praise diversity that really came about from penny pinching and keeping a franchise alive by any means necessary, two things that actually ruin movies. It was only through sheer luck with Fast Five aka The Brazillian Job that it became an Avengers level contender.
Isn't that what color blind means? If you set out to have a diverse cast, that's not color blind. A random hodgepodge that happens to be diverse is color blind casting. It's not better, it's just a lucky coincidence.
Color Blind casting is like your totally not racist friend who "doesn't see color I just see people" its complete bullshit. Especially in modern focus grouped to shit hollywood.
I'd say the writer of F4 probably had race indicated on characters, but it was probably more the crayon color they wrote the script in that denoted it. "Ok what race is burnt sienna?"
I would like some money because these are artisanal nuggets of wisdom philistine.
As someone who had many weekends as a kid dedicated by "what is on TBS/USA/TNT that my father will throw on", I enjoy The Rewatchables podcast-even though it isn't generally cutting edge criticism by any means. They did Gladiator recently, which touched on Master and Commander.
Which reminded me what a great movie that is. I went and rewatched it and just god fucking damnit we were robbed. They had already colonated the title!!! In 2003! There have to be at least 3 good to decent sequels that we could have gotten. And we'd be coming up on some massive budget 20 year anniversary reboot/sequel. And look I love Return of the King, but look what it finally winning all those Oscars got us-actually save yourself the 8 hours and don't.
And navy movies all suck now. Has there been an even okay one since 2003?- Only if you count some of the ones with SEALS, which lets be honest don't really count. Most of those don't even have ships in them. I think its legitimately arguable that Battleship is the best naval movie since.
/rant
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knitdanIn ur baseKillin ur guysRegistered Userregular
The only good navy movies are submarine movies and the last good one of those was
“I was quick when I came in here, I’m twice as quick now”
-Indiana Solo, runner of blades
The modern navy is too boring to make any worthwhile movies. "We fired missiles at something really far away." "We launched some planes at something really far away, and three hours later they all came back." "We're submariners with no real enemy to be worried about so we spend a lot of time underwater with nothing to do but listen to whales hump and polish our missiles. Yes that's innuendo."
Battleship worked because they knew it was a dumb premise and leaned into it, and figured out how to get surface ship battles into the movie. I think if someone tried to do a period naval battle movie now, they'd be somewhat hamstrung by the Pirates series and how ship to ship fighting was portrayed. Either do it accurately and people think it's boring or end up making sort of a ripoff.
I still want my Battle off Samar movie. All the WWII mining for movies that's been done and no one has picked it up for some reason. It's one of the largest naval battles in history, one of the most mismatched naval battles in history, and one of the greatest last stands in history. The actual battle took just under 3 hours so it could be done in real time. They wouldn't have to embellish anything because everything that happened is already so incredible.
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knitdanIn ur baseKillin ur guysRegistered Userregular
I just remembered they released a big Midway movie 6 months ago
Did anyone see it?
“I was quick when I came in here, I’m twice as quick now”
-Indiana Solo, runner of blades
If we're going by Fast 4, that's the fourth film of a franchise, where they had to switch out the cast in the second movie because only Paul Walker and his FBI handler came back, and the third one was a whole new cast on another continent with Diesel returning for 30 seconds and to get the rights to Riddick.
So this is trying to praise diversity that really came about from penny pinching and keeping a franchise alive by any means necessary, two things that actually ruin movies. It was only through sheer luck with Fast Five aka The Brazillian Job that it became an Avengers level contender.
Well, it was F&F: Initial D Tokyo Drift that got Justin Lin the keys to the franchise, so I think that was the real game changer.
(Also arguably the best movie in the series, and definitely one of the few that actually focuses on, well, racing.)
Posts
I don't know what your tolerance for weird is
but...
Also I’m very sad Fred Willard is gone. I don’t think I ever saw him in anything where he didn’t make me laugh.
Choose Your Own Chat 1 Choose Your Own Chat 2 Choose Your Own Chat 3
It knows what it is, what you expect of it, so for a background movie it's not bad. It just exists. The Kix cereal of movies.
gotta respect the hustle.
I'm a little more critical of this than I used to be. Sandler has shown he can bring it when he wants to so it's a shame to see his talent not put to use. I ain't sayingn he owes anyone anything but why not do good work if you can?
This is not a film, but a 1972 miniseries by Rainer Werner Fassbinder that runs five feature-length episodes. Apparently it was planned to be eight parts long, but the latter episodes were cancelled. It's about a middle-class German family, whose lives are changed when their son finds a new girlfriend.
Fassbinder is one of the more fascinating cases in German cinema, a hyper-prolific, cocaine-fueled, queer prodigy who was aesthetically ambitious and always making cynical, darkly comedic, and tragically entertaining stories about racism, politics, and other social problems in modern and recent historical (like wartime and postwar) Germany. His stories revolved around people being cruel and unfair to one another in order to illustrate a social or human truth. Eight Hours Don't Make a Day starts this way, at a drunken birthday party for the family Grandma, with family members loudly at one another's throats in that mean, half-joking way. I was prepared and even anticipating another dynamic and acidic chamber piece.
But this series switches its rhythm quickly with the introduction of Marion, a curly wig-wearing girl played by Fassbinder regular Hanna Schygulla, whom family son Joachim invites to the party while going to pick up more booze. It almost immediately becomes a comedy about human decency. Each episode is either fully or partially focused on a couple finding love or understanding between each other. The first is about young love. The second is about an elderly couple trying to build a life with one another. Another episode is about Joachim's sister trying to leave an abusive marriage. Joachim's job as a machinist is also a major focus in a majority of the episodes, as he and his coworkers negotiate and protest for fairer pay and treatment.
The characters are wonderfully written and cast. Fassbinder's troupe were always an oblong bunch, bending to whatever aesthetic or tonal goal he had in mind, but here they inhabit the roles of everyday comedy so well. His visual style is reduced somewhat to account for the relaxed feel of the drama, but shots are still punctuated with extremely intelligent reframing, camera movement, and cheeky zooms. It's the warmest thing he's made; an effortless seeming character piece about domestic happiness and labour. Every episode ends with a shot of a sun rising over a factory, and everytime it hit I felt a deep appreciation for this work and its earnest messaging of compassion and togetherness. It's one of the best things Fassbinder made.
I think your playback might be screwy
It is bad, if for no other reason than the multiple instances of Spade's character waking up to Missy fondling (and in one case downright having sex with) him.
Shit is really not funny.
pleasepaypreacher.net
Fury Road was only 5 years ago
She does take a very violent tumble off a cliff. She is in partial traction for like a day and they move on from it
twitch.tv/Taramoor
@TaramoorPlays
Taramoor on Youtube
Men In Black dabs on that assertion and I don't even like that franchise. Unless we're getting into the weird modern day every year/other year franchises.
Whatever the case Fast & Furious sucks and is the worst F&F movie it should only be the first action movie to suck to the power of Nos.
edit: just to be clear, that's Fast 4, the first one is golden.
The Venn diagram of Motorheads and Point Break fans can only overlap so much.
twitch.tv/Taramoor
@TaramoorPlays
Taramoor on Youtube
I mean the franchise starred Paul Walker for fuck sake, Paul god damn Walker. PAUL WALKER!
pleasepaypreacher.net
https://www.google.com/search?client=firefox-b-1-d&q=men+in+black+cast
https://www.google.com/search?client=firefox-b-1-d&q=fast+and+the+furious+cast
MIB 2, which still didn't have half as diverse a cast as F&F and came out the year after.
So this is trying to praise diversity that really came about from penny pinching and keeping a franchise alive by any means necessary, two things that actually ruin movies. It was only through sheer luck with Fast Five aka The Brazillian Job that it became an Avengers level contender.
Well I mean Lemmy liked the Beach Boys, so there's that.
That whole movie doesn't so much break the fourth wall as legislate open borders and extend citizenship to those on the other side of the fourth wall.
Isn't that what color blind means? If you set out to have a diverse cast, that's not color blind. A random hodgepodge that happens to be diverse is color blind casting. It's not better, it's just a lucky coincidence.
Men in Black had one good movie, one kinda crappy movie, and another one happened like twenty years later that I don't think anyone saw. It's not much of a "franchise," and the only notable PoC character is Will Smith.
Color Blind casting is like your totally not racist friend who "doesn't see color I just see people" its complete bullshit. Especially in modern focus grouped to shit hollywood.
I'd say the writer of F4 probably had race indicated on characters, but it was probably more the crayon color they wrote the script in that denoted it. "Ok what race is burnt sienna?"
pleasepaypreacher.net
Which reminded me what a great movie that is. I went and rewatched it and just god fucking damnit we were robbed. They had already colonated the title!!! In 2003! There have to be at least 3 good to decent sequels that we could have gotten. And we'd be coming up on some massive budget 20 year anniversary reboot/sequel. And look I love Return of the King, but look what it finally winning all those Oscars got us-actually save yourself the 8 hours and don't.
And navy movies all suck now. Has there been an even okay one since 2003?- Only if you count some of the ones with SEALS, which lets be honest don't really count. Most of those don't even have ships in them. I think its legitimately arguable that Battleship is the best naval movie since.
/rant
-Indiana Solo, runner of blades
Down Periscope
MWO: Adamski
Battleship worked because they knew it was a dumb premise and leaned into it, and figured out how to get surface ship battles into the movie. I think if someone tried to do a period naval battle movie now, they'd be somewhat hamstrung by the Pirates series and how ship to ship fighting was portrayed. Either do it accurately and people think it's boring or end up making sort of a ripoff.
I still want my Battle off Samar movie. All the WWII mining for movies that's been done and no one has picked it up for some reason. It's one of the largest naval battles in history, one of the most mismatched naval battles in history, and one of the greatest last stands in history. The actual battle took just under 3 hours so it could be done in real time. They wouldn't have to embellish anything because everything that happened is already so incredible.
Did anyone see it?
-Indiana Solo, runner of blades
edit: Confirmed: Nope
https://www.boxofficemojo.com/release/rl2634515969/
Well, it was F&F: Initial D Tokyo Drift that got Justin Lin the keys to the franchise, so I think that was the real game changer.
(Also arguably the best movie in the series, and definitely one of the few that actually focuses on, well, racing.)
My father did. He said it was okay, but this is a guy who watches westerns all day, soo...