What We Do In the Shadows 2 can work if they go to Australia or somewhere else to riff on the monster subculture, or maybe New Zealand becomes a new monster mecca and the old school has to deal with the new dickhead monsters.
What We Do In the Shadows 2 can work if they go to Australia or somewhere else to riff on the monster subculture, or maybe New Zealand becomes a new monster mecca and the old school has to deal with the new dickhead monsters.
It could also be the opposite, where the monsters everywhere else have assimilated quite well, and they basically 'encourage' their morons to go to New Zealand.
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Dark Raven XLaugh hard, run fast,be kindRegistered Userregular
I am watching Creep, outta curiosity
yo this motherfucka crazy, time to leave was like, 12 seconds in.
There's no wife and kid, and he probably collects and kills cameramen as Peach Fuzz, right?
I watch Sherman's March last night, a documentary by a filmmaker who says he wants to make one about Sherman's March, but his girlfriend breaks up with him, and it becomes about him and women. I enjoyed it, but that's all not important; I just love it when a camera catches something so unexpected. Start watching at 4:30, it's quite brief.
And the AntiChrist will come into power OOH JELLYBEANS
yo this motherfucka crazy, time to leave was like, 12 seconds in.
There's no wife and kid, and he probably collects and kills cameramen as Peach Fuzz, right?
The whole film is basically super meta.
You can tell five minutes in that this movie is fucking terrible. The warning signs are everywhere. And yet, for no good reason, you keep watching, even as it gets stupider and stupider.
And ultimately, the movie murders your misplaced faith in cinema with an axe.
Duplass is a genius, man. He's got a message, man.
(The message is: "Stop giving me money.")
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FantastikaBetting That The Levee Will HoldRegistered Userregular
I pretty sure it was unintentional but I really liked how Straight Outta Compton kind of mirrored the actual group in terms of quality. The first half, when Ice Cube is part of the group, is pretty awesome. The whole Detroit concert is probably the high point of the movie. The second half, after Cube leaves the group, isn't that great, much like the actual group itself. It kind of turns into a big Dre/Cube fluff piece in the second half that kind of reminded me of a Behind The Music special. There's an intensity in the first half that seems like it's missing in the second half of the movie. It's a shame really.
There are some other problems too. It's does kind of waste a pretty uncanny Snoop Dogg performance by Keith Stanfield. He gets the swagger and almost exact vocal cadence down. It's amazing. Get me a Snoop Dogg biopic starring him stat. Ren and Yella are pretty much side notes at best. They're barely given any screentime compared to the other 3. And finally, it pretty much ignores the rampant misogyny that was part of the group. It's kind of irresponsible that they don't even mention the Dee Barnes stuff with Dre.
WHAS is basically a cartoon universe, so yeah it gets very silly and very wacky. The show is even more so, and honestly might be better than the film. Its greatness lies in the performances (every time Paul Rudd is onscreen is magical) and how unafraid it is to go completely absurd (like the "going into town" scene in the film, or the whole character of Mitch). Also the entire Alan Shemper scene is comedy genius.
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Dark Raven XLaugh hard, run fast,be kindRegistered Userregular
Man fuck that Peach Fuzz mask.
The jump scares are super lame, but that bit where he's standing in the doorway wearing the mask was genuinely spooky. The rest of this tho? Blarf.
Oh brilliant
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MalReynoldsThe Hunter S Thompson of incredibly mild medicinesRegistered Userregular
I thought Creep was inconsistent, but I was also operating under the assumption that Josef was some kind of Cthulian monster, which... still makes no fucking sense, but it least it would explain how quickly Brice gets indoctrinated and why he has progressively more and more disturbing dreams the further away from his encounter from Josef.
Duplass evidently has a plan for two sequels that probably aren't going to get made, so there's more story there.
There should have just also been story in the first one.
Also do we hate Duplass? I'm picking up some Duplass hate and I've never really disliked him.
"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!
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Dark Raven XLaugh hard, run fast,be kindRegistered Userregular
He's the guy in Safety Not Guaranteed, right? Atomika and a couple others hate that thing like AM.
But my only experience with Duplass is that and Creep, and I disliked Creep way more than I liked SNG, so it earns him a net "Fuck you."
ElJeffe on
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Oh right. The One I Love was pretty great, actually.
That gives Duplass 2 successes and 26 failures in my book.
(I am counting Creep 26 times.)
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TexiKenDammit!That fish really got me!Registered Userregular
TexiKenDammit!That fish really got me!Registered Userregular
I have so many feuds going I don't know where to begin. All I know is they. will. never. end.
I can't get too mad at Duplass because he's good on The League, he seems decent enough as an actor, but his movies aren't that good. BUT, he's not fleecing studios out of millions of dollars with profundity or p-wordness, they're all itty bitty indie movies that I can just ignore.
I pretty sure it was unintentional but I really liked how Straight Outta Compton kind of mirrored the actual group in terms of quality. The first half, when Ice Cube is part of the group, is pretty awesome. The whole Detroit concert is probably the high point of the movie. The second half, after Cube leaves the group, isn't that great, much like the actual group itself. It kind of turns into a big Dre/Cube fluff piece in the second half that kind of reminded me of a Behind The Music special. There's an intensity in the first half that seems like it's missing in the second half of the movie. It's a shame really.
There are some other problems too. It's does kind of waste a pretty uncanny Snoop Dogg performance by Keith Stanfield. He gets the swagger and almost exact vocal cadence down. It's amazing. Get me a Snoop Dogg biopic starring him stat. Ren and Yella are pretty much side notes at best. They're barely given any screentime compared to the other 3. And finally, it pretty much ignores the rampant misogyny that was part of the group. It's kind of irresponsible that they don't even mention the Dee Barnes stuff with Dre.
From "Will they shoot?" A black woman is my manager, not in the kitchen. So would you please stop bitchin?
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AstaerethIn the belly of the beastRegistered Userregular
Duplass started out super negative in my book because he made the movie Cyrus, which is a really shitty indie comedy that's primarily terrible because it's shot all handheld-shakycam like it's a found footage horror movie (but it's not a found footage comedy, it's just shot poorly). So I was angry at him for that and swore off his movies--I know they're cheap but he can afford a friggin' tripod for shit's sake--and then my anger gradually relaxed a bit because he's a decent actor and I liked Safety Not Guaranteed and The One I Love is super good. So I assumed he would be okay in Creep, but it turns out he helped make the movie (instead of a script, he and the director wrote an outline together and then improvised everything), and even if he hadn't, as the only name actor in the film he's the reason it exists and got distribution and ended up in front of me on Netflix.
So Duplass is at like, plus 3, minus a billion with me right now.
I agree with you on Duplass as much as I disagree with you about everything you've ever said about the MCU.
I guess we can be friends again.
I submitted an entry to Lego Ideas, and if 10,000 people support me, it'll be turned into an actual Lego set!If you'd like to see and support my submission, follow this link.
I pretty sure it was unintentional but I really liked how Straight Outta Compton kind of mirrored the actual group in terms of quality. The first half, when Ice Cube is part of the group, is pretty awesome. The whole Detroit concert is probably the high point of the movie. The second half, after Cube leaves the group, isn't that great, much like the actual group itself. It kind of turns into a big Dre/Cube fluff piece in the second half that kind of reminded me of a Behind The Music special. There's an intensity in the first half that seems like it's missing in the second half of the movie. It's a shame really.
There are some other problems too. It's does kind of waste a pretty uncanny Snoop Dogg performance by Keith Stanfield. He gets the swagger and almost exact vocal cadence down. It's amazing. Get me a Snoop Dogg biopic starring him stat. Ren and Yella are pretty much side notes at best. They're barely given any screentime compared to the other 3. And finally, it pretty much ignores the rampant misogyny that was part of the group. It's kind of irresponsible that they don't even mention the Dee Barnes stuff with Dre.
From "Will they shoot?" A black woman is my manager, not in the kitchen. So would you please stop bitchin?
That's an Ice Cube track, not a NWA one. The movie's like 140 minutes long and I swear no female gets more than maybe 5 minutes of screentime and no more than 10 lines I would guess in the entire thing.
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MalReynoldsThe Hunter S Thompson of incredibly mild medicinesRegistered Userregular
Duplass started out super negative in my book because he made the movie Cyrus, which is a really shitty indie comedy that's primarily terrible because it's shot all handheld-shakycam like it's a found footage horror movie (but it's not a found footage comedy, it's just shot poorly). So I was angry at him for that and swore off his movies--I know they're cheap but he can afford a friggin' tripod for shit's sake--and then my anger gradually relaxed a bit because he's a decent actor and I liked Safety Not Guaranteed and The One I Love is super good. So I assumed he would be okay in Creep, but it turns out he helped make the movie (instead of a script, he and the director wrote an outline together and then improvised everything), and even if he hadn't, as the only name actor in the film he's the reason it exists and got distribution and ended up in front of me on Netflix.
So Duplass is at like, plus 3, minus a billion with me right now.
Completely fair! I haven't seen Cyrus, but I did like Jeff, Who Lives at Home, and he's... like, the best part of The League.
I didn't think he was awful in Creep, but the movie was by and large bad. I didn't think Brice did a terrible job, either; they're just two characters that emote very well, just the wrong emotion for what is going on, I think.
"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!
I think Duplass could have been good as Josef in a completely different movie with a completely different tone. One that, for starters, had a script and a tripod. The guy's likeable, and he can do creepy (HAHAHA), but that thing was just pants on head.
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KadokenGiving Ends to my Friends and it Feels StupendousRegistered Userregular
I pretty sure it was unintentional but I really liked how Straight Outta Compton kind of mirrored the actual group in terms of quality. The first half, when Ice Cube is part of the group, is pretty awesome. The whole Detroit concert is probably the high point of the movie. The second half, after Cube leaves the group, isn't that great, much like the actual group itself. It kind of turns into a big Dre/Cube fluff piece in the second half that kind of reminded me of a Behind The Music special. There's an intensity in the first half that seems like it's missing in the second half of the movie. It's a shame really.
There are some other problems too. It's does kind of waste a pretty uncanny Snoop Dogg performance by Keith Stanfield. He gets the swagger and almost exact vocal cadence down. It's amazing. Get me a Snoop Dogg biopic starring him stat. Ren and Yella are pretty much side notes at best. They're barely given any screentime compared to the other 3. And finally, it pretty much ignores the rampant misogyny that was part of the group. It's kind of irresponsible that they don't even mention the Dee Barnes stuff with Dre.
From "Will they shoot?" A black woman is my manager, not in the kitchen. So would you please stop bitchin?
That's an Ice Cube track, not a NWA one. The movie's like 140 minutes long and I swear no female gets more than maybe 5 minutes of screentime and no more than 10 lines I would guess in the entire thing.
Sorry, I'm not trying to fish for an argument with that. I just wanted to quote a song.
Though are you referring to "A Bitch is a Bitch" and "I Ain't the One" and "Just Don't Bite It"?
I take more problem with the fact that MC Ren and DJ Yella was relegated to the sidelines as comic relief than any shortage of screentime for the female cast. They're actually in the eponymous group.
Kadoken on
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AstaerethIn the belly of the beastRegistered Userregular
I think Duplass could have been good as Josef in a completely different movie with a completely different tone. One that, for starters, had a script and a tripod. The guy's likeable, and he can do creepy (HAHAHA), but that thing was just pants on head.
It's just frustrating to me because Duplass is no longer at the point (if he ever was there) where he needs to be careless and fly by the seat of his pants just to get a movie made. He can afford to take a little time and a little money and a little care and make something worthwhile. And if at this point he doesn't want to do that, that's an artistic choice and one that I strenuously disagree with. It just becomes laziness.
Okay I'm done ranting about Duplass, he gets no more of my mental space.
Forgive me if I'm thinking of a different movie. But didn't SooC have a casting call for women, divided in classes A through D, with hot white chicks in group A, all the way to dark skinned ladies in class D? Beyoncé apparently only classified as a class B.
I pretty sure it was unintentional but I really liked how Straight Outta Compton kind of mirrored the actual group in terms of quality. The first half, when Ice Cube is part of the group, is pretty awesome. The whole Detroit concert is probably the high point of the movie. The second half, after Cube leaves the group, isn't that great, much like the actual group itself. It kind of turns into a big Dre/Cube fluff piece in the second half that kind of reminded me of a Behind The Music special. There's an intensity in the first half that seems like it's missing in the second half of the movie. It's a shame really.
There are some other problems too. It's does kind of waste a pretty uncanny Snoop Dogg performance by Keith Stanfield. He gets the swagger and almost exact vocal cadence down. It's amazing. Get me a Snoop Dogg biopic starring him stat. Ren and Yella are pretty much side notes at best. They're barely given any screentime compared to the other 3. And finally, it pretty much ignores the rampant misogyny that was part of the group. It's kind of irresponsible that they don't even mention the Dee Barnes stuff with Dre.
From "Will they shoot?" A black woman is my manager, not in the kitchen. So would you please stop bitchin?
That's an Ice Cube track, not a NWA one. The movie's like 140 minutes long and I swear no female gets more than maybe 5 minutes of screentime and no more than 10 lines I would guess in the entire thing.
Going meta on this, have you seen the buzzfeed clip where they review real casting calls? The Compton one fits right in.
Judging the team from the early comics is a stupid idea, and strangely he dodges the fact back then how Sue was the stereotypical damsel in the distress that was the target for sexism in that period. He forgets the the characters have evolved since then in the comics and other media. Waid's and Byrne's comics, for instance, are classics. Byrne made Sue the team power house and a strong female character who can look after herself, not the team's doormat. Waid's was a light hearted family drama with a self conscious, responsible Reed who adored his family, and that existed to some extent prior to Waid - like in Lobdell's comics.
I think Duplass could have been good as Josef in a completely different movie with a completely different tone. One that, for starters, had a script and a tripod. The guy's likeable, and he can do creepy (HAHAHA), but that thing was just pants on head.
It's just frustrating to me because Duplass is no longer at the point (if he ever was there) where he needs to be careless and fly by the seat of his pants just to get a movie made. He can afford to take a little time and a little money and a little care and make something worthwhile. And if at this point he doesn't want to do that, that's an artistic choice and one that I strenuously disagree with. It just becomes laziness.
Okay I'm done ranting about Duplass, he gets no more of my mental space.
It seemed like a sort of lark that he filmed one weekend because he was bored. Which stands in stark contrast to such ventures as Whedon's Much Ado About Nothing, which basically was filmed in a weekend on a shoestring budget and also almost entirely helmed by one man, except was actually pretty great.
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Apothe0sisHave you ever questioned the nature of your reality?Registered Userregular
Speaking of Duplass, I have watched him in Togetherness his HBO series.
I don't even know what it is.
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joshgotroDeviled EggThe Land of REAL CHILIRegistered Userregular
Saw Diggs in Hedwig a few weeks ago. Stuck around afterward because my wife has been in love with him basically since she was in high school and she wanted to meet him. You are right, he doesn't age.
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AtomikaLive fast and get fucked or whateverRegistered Userregular
I hated Safety Not Guaranteed because Duplass' character was a massive fucking weirdo and a creep and largely acted that way because the script needed him to be mysterious, and then the cool hipster girl falls in love with him because reasons, despite the fact we all learn that he's a delusional crazy person who lied about stalking his ex.
I think Duplass could have been good as Josef in a completely different movie with a completely different tone. One that, for starters, had a script and a tripod. The guy's likeable, and he can do creepy (HAHAHA), but that thing was just pants on head.
It's just frustrating to me because Duplass is no longer at the point (if he ever was there) where he needs to be careless and fly by the seat of his pants just to get a movie made. He can afford to take a little time and a little money and a little care and make something worthwhile. And if at this point he doesn't want to do that, that's an artistic choice and one that I strenuously disagree with. It just becomes laziness.
Okay I'm done ranting about Duplass, he gets no more of my mental space.
It seemed like a sort of lark that he filmed one weekend because he was bored. Which stands in stark contrast to such ventures as Whedon's Much Ado About Nothing, which basically was filmed in a weekend on a shoestring budget and also almost entirely helmed by one man, except was actually pretty great.
I forgot there was a different Much Ado About Nothing made a few years ago, and for a second I thought you were saying that the Kenneth Brenna Shakespeare movie was directed by Whedon and filmed in a weekend with no budget (for the dozen or so big name actors in it).
I watched Red Eye this weekend, mainly because I generally find Cillian Murphy very watchable and I was curious how they'd pull off their high concept plot. It's not a very good film (though I don't think it's bad either - it mainly feels like an okayish B thriller from the '90s), but I was surprised by how much I didn't dislike Rachel McAdams (I tend to find her usual aren't-I-cute shtik annoying and nauseating) - and why is it that Murphy doesn't play villains more often?
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
- Napoleon Solo's character building + Henry Cavill's mannered performance breaks the movie for me. Mind you, it's not a "bad" performance, but he's very obviously doing a character, and it comes off as a cartoonishly exaggerated version of Connery-era James Bond, but the script also makes sure that you never have any reason to like him. So imagine a suave, sophisticated, womanizing, alcoholic, aristocratic muderous sociopath, and then take away anything that might make him charming. Cavil's portrayal of this weird character just grates more and more as the film goes on, and while I definitely can see that it's based on the original Napoleon Solo, Robert Vaughn, instead of being an homage it comes across as robotic and creepy. It doesn't help that Solo is given this insanely convoluted backstory describing how after serving in the military he became a black-market art dealer, con artist, and master pickpocket, none of which have any bearing on the plot at all, . . . . yet they keep bringing it up, like in a weird scene at a fancy party where Solo pickpockets like five people for no discernible reason. I get the feeling as if Solo was supposed to be this huge dry comic relief character, a la Robert Downey, Jr, against Ilya Kuryakin's intense straightman, but it fell flat almost every time. Really the only time I remembered thinking Solo was funny was when he grabbed the pillow and laid down on the couch after being poisoned.
- Interesting to note, while Ian Fleming did not create The Man from UNCLE, the original TV show was largely based on his 007 series of books and films, and Fleming himself helped the show as a consultant, even creating one of the leads -- you guessed it -- Napoleon Solo.
- The script constantly makes references to Ilya Kuryakin's imposing size and strength. The problem with that in the film is that while Armie Hammer is almost freakishly tall in real life (6'5"), he's skinny as a rail and the only athlete I could ever see him as is a long-distance runner. There's nothing imposing about him. As well, he's constantly in the same scene with Henry Cavill, who at 6'2" is not exactly small himself, thus diminishing any major height disparity we might get from a partner of more average stature; if Solo were played by someone like Tom Hardy or Joseph Gordon-Levitt, the height difference would be 8 inches instead of a paltry three. To make matters worse, stick-boy Hammer is supposed to be the Russian strongman, but Cavill is constantly parading around in peak Superman physique, huge muscles barely kept from ripping through his clothing at all times. Simply to say, Henry Cavill looks like he could kill you with one punch, and Armie Hammer looks like a wiry beatnik.
- Anyone looking for Guy Richie to end his streak of turning interesting complicated women into mere damsels in distress by the finale need not look here.
I have no doubt this is true, but I have to say, one of the most attractive things from TMFU (that's a very unfortunate acronym?) is an unexpected reversal from Hollywood. We've had a pretty consistent guarantee for ~30 years that, of your predictable Anglo/American + Typically Nonspecific Fake Eurasian Cold War duo of dudes, the later is always the hulking, muscular bruiser. Granted, the former is still the classy posh guy, so that's true, but it's an unexpected reversal nonetheless.
This is one of the few movies in recent memory that has the duo, and pulls the reverse. And I say considering Red Heat is probably one of the better attempts at that formula.
Was interested in this film, but gradually lost interest the more I considered all the other takes on the same formula (both strict spy and more general crime movies) I've seen. With your review I think I'll Redbox it somewhere down the line.
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AtomikaLive fast and get fucked or whateverRegistered Userregular
- Napoleon Solo's character building + Henry Cavill's mannered performance breaks the movie for me. Mind you, it's not a "bad" performance, but he's very obviously doing a character, and it comes off as a cartoonishly exaggerated version of Connery-era James Bond, but the script also makes sure that you never have any reason to like him. So imagine a suave, sophisticated, womanizing, alcoholic, aristocratic muderous sociopath, and then take away anything that might make him charming. Cavil's portrayal of this weird character just grates more and more as the film goes on, and while I definitely can see that it's based on the original Napoleon Solo, Robert Vaughn, instead of being an homage it comes across as robotic and creepy. It doesn't help that Solo is given this insanely convoluted backstory describing how after serving in the military he became a black-market art dealer, con artist, and master pickpocket, none of which have any bearing on the plot at all, . . . . yet they keep bringing it up, like in a weird scene at a fancy party where Solo pickpockets like five people for no discernible reason. I get the feeling as if Solo was supposed to be this huge dry comic relief character, a la Robert Downey, Jr, against Ilya Kuryakin's intense straightman, but it fell flat almost every time. Really the only time I remembered thinking Solo was funny was when he grabbed the pillow and laid down on the couch after being poisoned.
- Interesting to note, while Ian Fleming did not create The Man from UNCLE, the original TV show was largely based on his 007 series of books and films, and Fleming himself helped the show as a consultant, even creating one of the leads -- you guessed it -- Napoleon Solo.
- The script constantly makes references to Ilya Kuryakin's imposing size and strength. The problem with that in the film is that while Armie Hammer is almost freakishly tall in real life (6'5"), he's skinny as a rail and the only athlete I could ever see him as is a long-distance runner. There's nothing imposing about him. As well, he's constantly in the same scene with Henry Cavill, who at 6'2" is not exactly small himself, thus diminishing any major height disparity we might get from a partner of more average stature; if Solo were played by someone like Tom Hardy or Joseph Gordon-Levitt, the height difference would be 8 inches instead of a paltry three. To make matters worse, stick-boy Hammer is supposed to be the Russian strongman, but Cavill is constantly parading around in peak Superman physique, huge muscles barely kept from ripping through his clothing at all times. Simply to say, Henry Cavill looks like he could kill you with one punch, and Armie Hammer looks like a wiry beatnik.
- Anyone looking for Guy Richie to end his streak of turning interesting complicated women into mere damsels in distress by the finale need not look here.
I have no doubt this is true, but I have to say, one of the most attractive things from TMFU (that's a very unfortunate acronym?) is an unexpected reversal from Hollywood. We've had a pretty consistent guarantee for ~30 years that, of your predictable Anglo/American + Typically Nonspecific Fake Eurasian Cold War duo of dudes, the later is always the hulking, muscular bruiser. Granted, the former is still the classy posh guy, so that's true, but it's an unexpected reversal nonetheless.
This is one of the few movies in recent memory that has the duo, and pulls the reverse. And I say considering Red Heat is probably one of the better attempts at that formula.
Was interested in this film, but gradually lost interest the more I considered all the other takes on the same formula (both strict spy and more general crime movies) I've seen. With your review I think I'll Redbox it somewhere down the line.
True, but the bigger issue here is how much the script keeps pointing out that the Russian guy is this hulking beast, and Armie Hammer just ain't that guy. He looks more like if Judge Reinhold and Jason Segel had a baby.
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AstaerethIn the belly of the beastRegistered Userregular
I watched Red Eye this weekend, mainly because I generally find Cillian Murphy very watchable and I was curious how they'd pull off their high concept plot. It's not a very good film (though I don't think it's bad either - it mainly feels like an okayish B thriller from the '90s), but I was surprised by how much I didn't dislike Rachel McAdams (I tend to find her usual aren't-I-cute shtik annoying and nauseating) - and why is it that Murphy doesn't play villains more often?
Red Eye is a really good movie until they get off the plane.
Posts
rather they do something new, but I bet they can cook up something surprising.
What We Do In the Shadows 2 can work if they go to Australia or somewhere else to riff on the monster subculture, or maybe New Zealand becomes a new monster mecca and the old school has to deal with the new dickhead monsters.
In other news, Red Letter Media has a batman & Robin commentary track up now, which would have been nice to have when watching the movie for the first time in a long time a week or two ago.
It could also be the opposite, where the monsters everywhere else have assimilated quite well, and they basically 'encourage' their morons to go to New Zealand.
yo this motherfucka crazy, time to leave was like, 12 seconds in.
And the AntiChrist will come into power OOH JELLYBEANS
The whole film is basically super meta.
And ultimately, the movie murders your misplaced faith in cinema with an axe.
Duplass is a genius, man. He's got a message, man.
(The message is: "Stop giving me money.")
There are some other problems too. It's does kind of waste a pretty uncanny Snoop Dogg performance by Keith Stanfield. He gets the swagger and almost exact vocal cadence down. It's amazing. Get me a Snoop Dogg biopic starring him stat. Ren and Yella are pretty much side notes at best. They're barely given any screentime compared to the other 3. And finally, it pretty much ignores the rampant misogyny that was part of the group. It's kind of irresponsible that they don't even mention the Dee Barnes stuff with Dre.
The jump scares are super lame, but that bit where he's standing in the doorway wearing the mask was genuinely spooky. The rest of this tho? Blarf.
Duplass evidently has a plan for two sequels that probably aren't going to get made, so there's more story there.
There should have just also been story in the first one.
Also do we hate Duplass? I'm picking up some Duplass hate and I've never really disliked him.
"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!
I liked it, and Mr Duplass. ;D
But my only experience with Duplass is that and Creep, and I disliked Creep way more than I liked SNG, so it earns him a net "Fuck you."
He didn't direct that tho
That gives Duplass 2 successes and 26 failures in my book.
(I am counting Creep 26 times.)
pleasepaypreacher.net
I can't get too mad at Duplass because he's good on The League, he seems decent enough as an actor, but his movies aren't that good. BUT, he's not fleecing studios out of millions of dollars with profundity or p-wordness, they're all itty bitty indie movies that I can just ignore.
pleasepaypreacher.net
From "Will they shoot?"
A black woman is my manager, not in the kitchen. So would you please stop bitchin?
So Duplass is at like, plus 3, minus a billion with me right now.
I guess we can be friends again.
The first words out of my mouth after seeing this movie were "I would totally watch a sequel following Rhys Darby" so this makes me pretty happy.
That's an Ice Cube track, not a NWA one. The movie's like 140 minutes long and I swear no female gets more than maybe 5 minutes of screentime and no more than 10 lines I would guess in the entire thing.
Completely fair! I haven't seen Cyrus, but I did like Jeff, Who Lives at Home, and he's... like, the best part of The League.
I didn't think he was awful in Creep, but the movie was by and large bad. I didn't think Brice did a terrible job, either; they're just two characters that emote very well, just the wrong emotion for what is going on, I think.
"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!
Sorry, I'm not trying to fish for an argument with that. I just wanted to quote a song.
Though are you referring to "A Bitch is a Bitch" and "I Ain't the One" and "Just Don't Bite It"?
I take more problem with the fact that MC Ren and DJ Yella was relegated to the sidelines as comic relief than any shortage of screentime for the female cast. They're actually in the eponymous group.
It's just frustrating to me because Duplass is no longer at the point (if he ever was there) where he needs to be careless and fly by the seat of his pants just to get a movie made. He can afford to take a little time and a little money and a little care and make something worthwhile. And if at this point he doesn't want to do that, that's an artistic choice and one that I strenuously disagree with. It just becomes laziness.
Okay I'm done ranting about Duplass, he gets no more of my mental space.
Interesting, it auto corrects her name....
WoW
Dear Satan.....
Going meta on this, have you seen the buzzfeed clip where they review real casting calls? The Compton one fits right in.
http://www.slate.com/articles/arts/culturebox/2015/08/the_fantastic_four_movie_flop_the_marvel_superheroes_are_gigantic_jerks.html
Judging the team from the early comics is a stupid idea, and strangely he dodges the fact back then how Sue was the stereotypical damsel in the distress that was the target for sexism in that period. He forgets the the characters have evolved since then in the comics and other media. Waid's and Byrne's comics, for instance, are classics. Byrne made Sue the team power house and a strong female character who can look after herself, not the team's doormat. Waid's was a light hearted family drama with a self conscious, responsible Reed who adored his family, and that existed to some extent prior to Waid - like in Lobdell's comics.
It seemed like a sort of lark that he filmed one weekend because he was bored. Which stands in stark contrast to such ventures as Whedon's Much Ado About Nothing, which basically was filmed in a weekend on a shoestring budget and also almost entirely helmed by one man, except was actually pretty great.
I don't even know what it is.
Basically HBO's Parenthood.
Saw Diggs in Hedwig a few weeks ago. Stuck around afterward because my wife has been in love with him basically since she was in high school and she wanted to meet him. You are right, he doesn't age.
I forgot there was a different Much Ado About Nothing made a few years ago, and for a second I thought you were saying that the Kenneth Brenna Shakespeare movie was directed by Whedon and filmed in a weekend with no budget (for the dozen or so big name actors in it).
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
I have no doubt this is true, but I have to say, one of the most attractive things from TMFU (that's a very unfortunate acronym?) is an unexpected reversal from Hollywood. We've had a pretty consistent guarantee for ~30 years that, of your predictable Anglo/American + Typically Nonspecific Fake Eurasian Cold War duo of dudes, the later is always the hulking, muscular bruiser. Granted, the former is still the classy posh guy, so that's true, but it's an unexpected reversal nonetheless.
This is one of the few movies in recent memory that has the duo, and pulls the reverse. And I say considering Red Heat is probably one of the better attempts at that formula.
Was interested in this film, but gradually lost interest the more I considered all the other takes on the same formula (both strict spy and more general crime movies) I've seen. With your review I think I'll Redbox it somewhere down the line.
True, but the bigger issue here is how much the script keeps pointing out that the Russian guy is this hulking beast, and Armie Hammer just ain't that guy. He looks more like if Judge Reinhold and Jason Segel had a baby.
Red Eye is a really good movie until they get off the plane.