Cast of the new Christopher Nolan movie announced.
Buncha dudes that look like Matt Damon and Matt Damon. I don’t know, whatever, I’m tired.
Jesse Plemmons is in it? Sweet.
Have you seen Power of the Dog?
It's in my queue, but I have been running through the Campion movies with the Blank Check boys.
He's quite good (unsurprisingly). It's a really, really interesting performance, but interesting in small, quiet ways. It's a very interior performance, and the character's internal life only bubbles up in little flashes, little moments, before the character's iron-tight lid can clamp back down. A performance built on where he looks, what he sees, what he hears - and also in the negative spaces, in what he chooses not to see, chooses not to hear, and how he conveys that it was, indeed, a choice (if not always a conscious one).
All that's really vague, I know, but it's a hard movie to talk about in concrete terms because some of the work of the movie is, "When and why and how do we impose borders upon ambiguity? When and why and how do we look for narratives? And what cares the world for the stories we tell ourselves?"
Anyway it's great, he's great, it'll be a great capper to a run through Campion's work
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Raijin QuickfootI'm your Huckleberry YOU'RE NO DAISYRegistered User, ClubPAregular
Thinking more about it
I’m pretty impressed they pulled off the new Scream without making it too stupid and hokey.
I’m pretty impressed they pulled off the new Scream without making it too stupid and hokey.
The Ready Or Not crew made it; I trusted them (far more than I'd trust 98.5% of the other directors the project could have possibly been pitched to post-Craven) to pull that off after how well that film worked
Incidentally I'd love to see a Samara Weaving cameo in the sixth Scream
It's in my queue, but I have been running through the Campion movies with the Blank Check boys.
He's quite good (unsurprisingly). It's a really, really interesting performance, but interesting in small, quiet ways. It's a very interior performance, and the character's internal life only bubbles up in little flashes, little moments, before the character's iron-tight lid can clamp back down. A performance built on where he looks, what he sees, what he hears - and also in the negative spaces, in what he chooses not to see, chooses not to hear, and how he conveys that it was, indeed, a choice (if not always a conscious one).
All that's really vague, I know, but it's a hard movie to talk about in concrete terms because some of the work of the movie is, "When and why and how do we impose borders upon ambiguity? When and why and how do we look for narratives? And what cares the world for the stories we tell ourselves?"
Anyway it's great, he's great, it'll be a great capper to a run through Campion's work
I watched this last night, and on first pass I was kind of bemused by the fact that Plemons got nominated alongside his co-stars, because his performance is SO bottled-up and restrained without ever having a scene of release - his valves are tightened down so thoroughly that you only ever see the tiniest bits of real emotion escape. It's masterful work, but it is decidedly un-showy by the standards of what the Oscars tend to elevate.
Thinking more about it today, though, there's so much nervy intensity in the performances that surround him that it allows the hesitance and stillness of his character to stand out in its own way. It would be easy to overlook his performance if the rest of the ensemble wasn't tuned at such a high pitch
But yeah, echoing that the movie's great and he's great in it. It's wild how much New Zealand both does and does not look like Montana, but it's gorgeous to look at either way. It also features the most menacing use of a banjo since Deliverance
It's in my queue, but I have been running through the Campion movies with the Blank Check boys.
He's quite good (unsurprisingly). It's a really, really interesting performance, but interesting in small, quiet ways. It's a very interior performance, and the character's internal life only bubbles up in little flashes, little moments, before the character's iron-tight lid can clamp back down. A performance built on where he looks, what he sees, what he hears - and also in the negative spaces, in what he chooses not to see, chooses not to hear, and how he conveys that it was, indeed, a choice (if not always a conscious one).
All that's really vague, I know, but it's a hard movie to talk about in concrete terms because some of the work of the movie is, "When and why and how do we impose borders upon ambiguity? When and why and how do we look for narratives? And what cares the world for the stories we tell ourselves?"
Anyway it's great, he's great, it'll be a great capper to a run through Campion's work
I watched this last night, and on first pass I was kind of bemused by the fact that Plemons got nominated alongside his co-stars, because his performance is SO bottled-up and restrained without ever having a scene of release - his valves are tightened down so thoroughly that you only ever see the tiniest bits of real emotion escape. It's masterful work, but it is decidedly un-showy by the standards of what the Oscars tend to elevate.
Thinking more about it today, though, there's so much nervy intensity in the performances that surround him that it allows the hesitance and stillness of his character to stand out in its own way. It would be easy to overlook his performance if the rest of the ensemble wasn't tuned at such a high pitch
But yeah, echoing that the movie's great and he's great in it. It's wild how much New Zealand both does and does not look like Montana, but it's gorgeous to look at either way. It also features the most menacing use of a banjo since Deliverance
The fact that he doesn't get that release, that he bottles the entire time, and is the character who has the closest thing to a conventional, clean "happy ending?" I think that's a keystone of the whole movie, honestly.
His is a character who does want human connection - but who suppresses that want. Doesn't let people see it. Chases superficial signifiers of happiness and stability and success instead, chooses to value the images of happiness over actual connection. And he's, in a way, rewarded. But only because he doesn't realize how many people had to hurt for it to happen. Because he has chosen not to realize.
But also, in my read of the movie, he was taught not to see things by a brother who was abused and shielded him from that abuse by teaching him not to look too deep at shit. He's inadvertently perpetuating the environments that allow masculine abuse to occur, while never participating in them or trying to become aware of them. Like pretty much every other character in the movie, he's both a victim and a perpetrator. He's just a quieter, "nicer" shade of both.
The new Texas Chainsaw Massacre is on Netflix! I think I liked it more than everything in the series since the original/first two! Not a high bar probably but still! It's only 79 minutes!
So much blood and good kills. Even some surprisingly good scares; Leatherface running the two or three times he does it looks amazing, and I also loved the girl slowly moving the mirror so the other guy could see Leatherface was behind the door he's beside
Bringing back the original narrator was cool, bringing back the character of Sally Hardesty (and basically taking an anti-Halloween 2018/21 approach to the return, where it immediately acknowledges she has trauma she can't forget, thinks confronting the guy again will solve it And that she's the only one that can solve it, and is horribly/firmly/immediately proven wrong) was better than I expected
The ending of the trailer with the millennials taking video of him about to kill them was the only cringey part I remember and it didn't last long. In general nothing lasted long, like I said this is 79 minutes pre-credits
The ending ruled. I don't think the postcredits scene was really needed because it was already obvious they want a sequel, but if we don't get a sequel that's fine too. I'm just satisfied seeing a terrifying Leatherface. This and Hellraiser were the last two big horror franchises I hadn't seen a good entry of released in my lifetime, and now I'm happy enough I'm checking this off that. Hellraiser tho
Adam Sandler has a new movie where he plays a washed-up basketball scout who tries to help a player from Spain make it to the NBA (Sandler and LeBron James are co-producers). They've been filming scenes in Philly for the past year or so (my old roommate worked at the dog school that watched Sandler's dog while he was here), but I admit I wasn't prepared for the sheer magnitude of Philly references/people/locations just stacked wall-to-wall in this trailer:
Adam Sandler has a new movie where he plays a washed-up basketball scout who tries to help a player from Spain make it to the NBA (Sandler and LeBron James are co-producers). They've been filming scenes in Philly for the past year or so (my old roommate worked at the dog school that watched Sandler's dog while he was here), but I admit I wasn't prepared for the sheer magnitude of Philly references/people/locations just stacked wall-to-wall in this trailer:
I am roughly 99.9% certain that Phantom of the Paradise is absolutely not my thing, but I also have multiple friends who almost certainly love it and I would be happy to sit down and watch it with a group who already likes it.
I won't be watching it on my own though, that's a guarantee that I'll end up not liking it.
Munkus BeaverYou don't have to attend every argument you are invited to.Philosophy: Stoicism. Politics: Democratic SocialistRegistered User, ClubPAregular
Jesus Christ
Humor can be dissected as a frog can, but dies in the process.
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StraightziHere we may reign secure, and in my choice,To reign is worth ambition though in HellRegistered Userregular
Roommates were watching the King's Man and I walked in just in time to see the mid-credits scene where
Lenin is talking to the villain of the movie (I assume) who then introduces the next villain in the King's Man saga like he's fucking Thanos, and it's Hitler? I think these movies might be ass
Roommates were watching the King's Man and I walked in just in time to see the mid-credits scene where
Lenin is talking to the villain of the movie (I assume) who then introduces the next villain in the King's Man saga like he's fucking Thanos, and it's Hitler? I think these movies might be ass
I've felt this way since the first one and never bothered to investigate the others
There's a kernel of a good silly spy movie series in there but it's buried under a bunch of dumbass Mark Millar shit and I presume this continues through all of them
Posts
Buncha dudes that look like Matt Damon and Matt Damon. I don’t know, whatever, I’m tired.
Jesse Plemmons is in it? Sweet.
Tumblr | Twitter PSN: misterdapper Av by Satellite_09
Or Gilbert Gottfried is both.
Either way works.
Have you seen Power of the Dog?
It's in my queue, but I have been running through the Campion movies with the Blank Check boys.
He's quite good (unsurprisingly). It's a really, really interesting performance, but interesting in small, quiet ways. It's a very interior performance, and the character's internal life only bubbles up in little flashes, little moments, before the character's iron-tight lid can clamp back down. A performance built on where he looks, what he sees, what he hears - and also in the negative spaces, in what he chooses not to see, chooses not to hear, and how he conveys that it was, indeed, a choice (if not always a conscious one).
All that's really vague, I know, but it's a hard movie to talk about in concrete terms because some of the work of the movie is, "When and why and how do we impose borders upon ambiguity? When and why and how do we look for narratives? And what cares the world for the stories we tell ourselves?"
Anyway it's great, he's great, it'll be a great capper to a run through Campion's work
I’m pretty impressed they pulled off the new Scream without making it too stupid and hokey.
The Ready Or Not crew made it; I trusted them (far more than I'd trust 98.5% of the other directors the project could have possibly been pitched to post-Craven) to pull that off after how well that film worked
Incidentally I'd love to see a Samara Weaving cameo in the sixth Scream
Steam
I watched this last night, and on first pass I was kind of bemused by the fact that Plemons got nominated alongside his co-stars, because his performance is SO bottled-up and restrained without ever having a scene of release - his valves are tightened down so thoroughly that you only ever see the tiniest bits of real emotion escape. It's masterful work, but it is decidedly un-showy by the standards of what the Oscars tend to elevate.
Thinking more about it today, though, there's so much nervy intensity in the performances that surround him that it allows the hesitance and stillness of his character to stand out in its own way. It would be easy to overlook his performance if the rest of the ensemble wasn't tuned at such a high pitch
But yeah, echoing that the movie's great and he's great in it. It's wild how much New Zealand both does and does not look like Montana, but it's gorgeous to look at either way. It also features the most menacing use of a banjo since Deliverance
I would love to see Cecil B. Demented get one some day.
Power to the people and punish bad cinema was my mantra for a long time.
His is a character who does want human connection - but who suppresses that want. Doesn't let people see it. Chases superficial signifiers of happiness and stability and success instead, chooses to value the images of happiness over actual connection. And he's, in a way, rewarded. But only because he doesn't realize how many people had to hurt for it to happen. Because he has chosen not to realize.
But also, in my read of the movie, he was taught not to see things by a brother who was abused and shielded him from that abuse by teaching him not to look too deep at shit. He's inadvertently perpetuating the environments that allow masculine abuse to occur, while never participating in them or trying to become aware of them. Like pretty much every other character in the movie, he's both a victim and a perpetrator. He's just a quieter, "nicer" shade of both.
Ahh! It's a really good movie!!!!
Bringing back the original narrator was cool, bringing back the character of Sally Hardesty (and basically taking an anti-Halloween 2018/21 approach to the return, where it immediately acknowledges she has trauma she can't forget, thinks confronting the guy again will solve it And that she's the only one that can solve it, and is horribly/firmly/immediately proven wrong) was better than I expected
The ending of the trailer with the millennials taking video of him about to kill them was the only cringey part I remember and it didn't last long. In general nothing lasted long, like I said this is 79 minutes pre-credits
The ending ruled. I don't think the postcredits scene was really needed because it was already obvious they want a sequel, but if we don't get a sequel that's fine too. I'm just satisfied seeing a terrifying Leatherface. This and Hellraiser were the last two big horror franchises I hadn't seen a good entry of released in my lifetime, and now I'm happy enough I'm checking this off that. Hellraiser tho
Steam
Damn, you were not kidding. The Federal Donuts shirt in the opening shot threw me for a loop, and it only got wilder from there.
Also how am I just now finding out the director is Jeremiah Zagar, son of this guy?
I feel like I'm about to find out the movie's gonna have like toynbee tiles and boner 4ever in it.
You guys
Steam - Talon Valdez :Blizz - Talonious#1860 : Xbox Live & LoL - Talonious Monk @TaloniousMonk Hail Satan
So my blu-ray copy arrives tomorrow
Huh. That's the subject of today's BW/DR essay. Not really a movie you expect to encounter come up twice in one day.
Hell, I'm not sure it would regularly come up twice in the same year.
I follow a lot of horror and cult cinema folks on twitter.
I see Phantom of the Paradise referenced at least once a month on average, if not more often.
I won't be watching it on my own though, that's a guarantee that I'll end up not liking it.
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Paul Williams was born in Omaha and it burns me endlessly that we don't put that on signs and shit here.
Steam ID XBL: JohnnyChopsocky PSN:Stud_Beefpile WiiU:JohnnyChopsocky
Steam
What a strange film
Fuck you, pay me.
I've felt this way since the first one and never bothered to investigate the others
There's a kernel of a good silly spy movie series in there but it's buried under a bunch of dumbass Mark Millar shit and I presume this continues through all of them
PSN ID : DetectiveOlivaw | TWITTER | STEAM ID | NEVER FORGET