IMO it's an okay film only, but a great example of art design. It makes for a better "The Art of..." coffee table book than a movie. There's a great film in there, but it would've needed a rewrite (especially the final confrontation) and possibly a different director who's good beyond establishing atmosphere.
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
IMO it's an okay film only, but a great example of art design. It makes for a better "The Art of..." coffee table book than a movie. There's a great film in there, but it would've needed a rewrite (especially the final confrontation) and possibly a different director who's good beyond establishing atmosphere.
I like how All the President's Men follows the book and the facts pretty closely. It's nicely free of hollywood malarky. Like there's no scene where Nixon slams his desk and shouts "I want Woodward and Bernstein stopped now!" Or where Bernstein and Woodward have a big fight and split up but then there's a big emotional reconciliation. Or where one of the reporter's wives is like "All you care about is your story! What about our marriage??"
(And the part that does feel like Hollywood malarky - the meetings with a mysterious source in a parking garage - is completely true.)
Incidentally the movie has one small detail that I love: there's a scene where Woodward is talking on the phone in the big, open Washington Post office - and there's some sort of commotion behind him, and he covers his ear with his hand and strains to hear what the source is saying. That made me go: oh, yeah, that must happen a lot in an open office like that. It's one of those details that I never would've thought of on my own, that adds a nice helping of verisimilitude.
I like how All the President's Men follows the book and the facts pretty closely. It's nicely free of hollywood malarky. Like there's no scene where Nixon slams his desk and shouts "I want Woodward and Bernstein stopped now!" Or where Bernstein and Woodward have a big fight and split up but then there's a big emotional reconciliation. Or where one of the reporter's wives is like "All you care about is your story! What about our marriage??"
(And the part that does feel like Hollywood malarky - the meetings with a mysterious source in a parking garage - is completely true.)
Incidentally the movie has one small detail that I love: there's a scene where Woodward is talking on the phone in the big, open Washington Post office - and there's some sort of commotion behind him, and he covers his ear with his hand and strains to hear what the source is saying. That made me go: oh, yeah, that must happen a lot in an open office like that. It's one of those details that I never would've thought of on my own, that adds a nice helping of verisimilitude.
Redford was very much aware that his two greatest successes had been in "buddy" movies: Butch and The Sting. And here he was, locked in with another male co-star.
He had always wanted a love interest in the movie. I think he always knew a romance didn't belong in the picture and this picture always had a length problem. It wanted to center on the two reporters and there was more than too much for them to do.
But now Hoffman had a scene with a girl a Redford became obsessed. I can't remember at the time whether Woodward was married or not, but he was involved with a lovely girl named Francie.
And now "Francie scenes" entered my life. Redford didn't want one, he wanted three, to show the growth and eventual deterioration of a relationship under the pressure of the story. It wasn't an incorrect idea, it was just incorrect for this movie.
At least I thought it was.
But he was my producer and he would appear again and again with new and different notions for three Francie scenes. I don't know how many I eventually wrote - a dozen, probably closer to two.
And it was miserable, because I didn't believe a goddam word I was writing. And I suspect my belief showed in the quality of my work.
No. The problem isn't that Superman killed Zod. The problem is that the scene was ostensibly showing someone who didn't want to kill a man being forced to do so by circumstances beyond his control. That is clearly what the tone of the scene, the music, and the passion on Superman's face is trying to convey. That is a good idea for a scene! And Cavill played it well!
However.
The scene was poorly conceived in that it didn't look like Superman killing Zod was the only way it could go. The family being threatened was just kind of sitting there instead of getting up and running away from Zod's evil death laser, which made it seem less inevitable and more "get up and move, you fucking idiots, goddamn."
More problematically, Superman being opposed to killing is never well established. I guess we can assume he doesn't like to kill because nobody really likes to kill, but this means the scene has the same emotional heft as any random guy being in that same position. If that scene involved Jimmy Olson having to choose whether or not to murder a dude, it would be just as impactful. This is just a wasted opportunity for a really meaningful scene.
This is compounded by the fact that the movie just spent thirty minutes showing Superman cavalierly leveling a city, killing thousands of people off screen, and giving no indication that he gave two shits about it. The contrast between that and the murder scene is really jarring, and makes the emotion seem really unearned.
None of these things are necessarily deal breakers on their own. Lots of movies show excessive collateral damage. Lots of movies have stupid civilians doing stupid things. Lots of movies just want to be eye candy. All these things are fine! But taken together, they add up to a climax that fails super fucking hard. And even that could be chalked up to a film that didn't want to be taken too seriously, except Snyder very obviously wanted MoS to be the Most Srs Bzns Evar, and so it needs to be judged accordingly.
You know what's a good counter-example to Man of Steel? Three Men and a Baby. The movie does a great job of establishing, over and over again, Tom Selleck's opposition to killing. There's even a scene where Tom Selleck breaks down in tears because Steve Guttenberg smooshes a spider. So when Tom Selleck is ultimately forced to kill an evil baby, with tears streaming down his face, it doesn't matter what your personal feelings are about killing psychotic killer babies, you still feel heartbroken because you understand how deeply wounded Tom Selleck is.
(Note: to avoid breaking forum rules, all references to the anime Trigun have been replaced with references to the 1987 hit comedy Three Men and a Baby.)
No. The problem isn't that Superman killed Zod. The problem is that the scene was ostensibly showing someone who didn't want to kill a man being forced to do so by circumstances beyond his control. That is clearly what the tone of the scene, the music, and the passion on Superman's face is trying to convey. That is a good idea for a scene! And Cavill played it well!
However.
The scene was poorly conceived in that it didn't look like Superman killing Zod was the only way it could go. The family being threatened was just kind of sitting there instead of getting up and running away from Zod's evil death laser, which made it seem less inevitable and more "get up and move, you fucking idiots, goddamn."
More problematically, Superman being opposed to killing is never well established. I guess we can assume he doesn't like to kill because nobody really likes to kill, but this means the scene has the same emotional heft as any random guy being in that same position. If that scene involved Jimmy Olson having to choose whether or not to murder a dude, it would be just as impactful. This is just a wasted opportunity for a really meaningful scene.
This is compounded by the fact that the movie just spent thirty minutes showing Superman cavalierly leveling a city, killing thousands of people off screen, and giving no indication that he gave two shits about it. The contrast between that and the murder scene is really jarring, and makes the emotion seem really unearned.
None of these things are necessarily deal breakers on their own. Lots of movies show excessive collateral damage. Lots of movies have stupid civilians doing stupid things. Lots of movies just want to be eye candy. All these things are fine! But taken together, they add up to a climax that fails super fucking hard. And even that could be chalked up to a film that didn't want to be taken too seriously, except Snyder very obviously wanted MoS to be the Most Srs Bzns Evar, and so it needs to be judged accordingly.
You know what's a good counter-example to Man of Steel? Three Men and a Baby. The movie does a great job of establishing, over and over again, Tom Selleck's opposition to killing. There's even a scene where Tom Selleck breaks down in tears because Steve Guttenberg smooshes a spider. So when Tom Selleck is ultimately forced to kill an evil baby, with tears streaming down his face, it doesn't matter what your personal feelings are about killing psychotic killer babies, you still feel heartbroken because you understand how deeply wounded Tom Selleck is.
...
(Note: to avoid breaking forum rules, all references to the anime Trigun have been replaced with references to the 1987 hit comedy Three Men and a Baby.)
Ohhhh
I haven't seen Three Men and a Baby, but about halfway through that synopsis I was beginning to wonder if I should.
I'm actually surprised Hostel was almost kinda alright? I saw it first a couple of years ago, and after hearing everyone shit on for the last ~10 years I expected a whole lot worse. I mean, it really is a crap movie, but still sort of entertaining in a hammy way if you watch i twith friends. I'd give it a very weak 3/5.
That wolf creek thing just sounds boring as shit though.
Many years ago (between the ages of 8 and 17) I was a VO artist. I kind of fell into it, my mom's best friend was a prolific voice over actress and thought I had a good speaking voice, her agent agreed and I was one of the few kids of my age who could a) read faster than I could speak and b) take direction well, which are pretty much the only required skills for a VA who is a minor (as you can imagine once my voice broke there was a lot more competition and I got a lot less work, but at that point I'd made enough to put myself through University so whatevs). I did mostly commercials but also a few vidja games - Psygnosis' adaptation of City of the Lost Children and the very first Harry Potter spring to mind. It was pretty sweet because my school let me skip to go do them.
One day I found myself in a studio in London doing some dubs for a part in the movie played by a child, apparently their voice was no good (I think the issue was that the part was actually played by a little girl but the character was actually a boy?). There was a guy in the booth next to me who was reading for the actor in the scene - this isn't uncommon even though the scene was already in the can, as it gets a more natural VA performance. I didn't recognise him, but I assumed he was the Director.
I say I might have been in DC because I'm not credited (which is not unusual for such a minor thing) and I've never actually seen the movie, but I vaguely remember the scene I was dubbing - it was a young pale kid with fucked up teeth and a creepy hat slowly stalking a man. I think at one point he scratched some claw-like nails along a wall? I had to make a lot of hissing and cackling noises - there were no actual words or lines that I remember, just creepy sounds.
I later learned from my Dad that I'd spent two hours in a booth hissing and spitting at Kiefer Sutherland.
I might actually watch this tonight, although I doubt I'd be able to tell if it was actually my voice that made it in. I don't even know if they kept the scene.
*Edit* Out of curiousity I just looked up the only ad campaign I did voicework for that anybody might remember - Playstation 2's "The Third Place" campaign in the UK, and seen that David fucking Lynch was the Director... I had no idea
2) Tom Hanks is miscast. Hanks is a great actor who can do a lot of things well - but as Vern notes in his Road to Perdition review - one of the things he can't do is play a hard-boiled asshole with a heart of gold. He just projects too much wide-eyed boyscoutishness. He can't pull it off. In Catch Me If You Can, when he's telling someone to go fuck themselves, or when he's sneering at and belittling Dicaprio, I don't buy it.
Hanrattey wasn't supposed to be tough or grizzled. He was supposed to be awkward and humorless.
"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 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.
Ah no worries. I just read that the wrong way I guess. They kind of just avoid all the really bad tracks like "One Less Bitch" or "A Bitch is a Bitch" or "One Less Hooker" in the movie and kind of pretend they never existed.
I think Ren gets it worse than Yella in the movie. Yella at least gets some funny lines here and there and is somewhat memorable. But I don't know if Ren gets more than 10 lines outside of the raps. He's just kind of there for the most part. But they both are represented better than D.O.C. or Arabian Prince. D.O.C. gets name checked and pops up once I think but Arabian Prince gets completely erased.
Going meta on this, have you seen the buzzfeed clip where they review real casting calls? The Compton one fits right in.
No, I haven't seen that. I usually stay away from Buzzfeed on general principle but I'll check it out.
I think it was good it's just... a great deal of Dre and Cube self-congratulation. The theme they handled is important, but the second major theme that's persisted throughout hiphop's history is the misogyny and in this case, not only do they ignore the fact that Dre is a repeated physical abuser but they also ignore a lot of the female contributions to the group and to Ruthless. Just as Stonewall is rightfully being criticized for erasing POC, Straight Outta Compton should be criticized for erasing women.
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.
Ah no worries. I just read that the wrong way I guess. They kind of just avoid all the really bad tracks like "One Less Bitch" or "A Bitch is a Bitch" or "One Less Hooker" in the movie and kind of pretend they never existed.
I think Ren gets it worse than Yella in the movie. Yella at least gets some funny lines here and there and is somewhat memorable. But I don't know if Ren gets more than 10 lines outside of the raps. He's just kind of there for the most part. But they both are represented better than D.O.C. or Arabian Prince. D.O.C. gets name checked and pops up once I think but Arabian Prince gets completely erased.
Going meta on this, have you seen the buzzfeed clip where they review real casting calls? The Compton one fits right in.
No, I haven't seen that. I usually stay away from Buzzfeed on general principle but I'll check it out.
I think it was good it's just... a great deal of Dre and Cube self-congratulation. The theme they handled is important, but the second major theme that's persisted throughout hiphop's history is the misogyny and in this case, not only do they ignore the fact that Dre is a repeated physical abuser but they also ignore a lot of the female contributions to the group and to Ruthless. Just as Stonewall is rightfully being criticized for erasing POC, Straight Outta Compton should be criticized for erasing women.
On a completely different subject, All The President's Men feels less like a historical docudrama these days and more like a vision from another planet. It keeps time jumping as the investigation rolls on and you realize that two people were paid to spend months and months investigating a single story. If Obama burgled Watergate today, nobody would have the financial resources to press the investigation anywhere near as far as "Woodstein" had to in order to prove the conspiracy.
I dunno. At the risk of bringing politics into this, people have been trying to pin stuff - anything they can get to stick - on the Clintons for twenty years now. And those backing the fishing expedition ongoing investigation(s) aren't going to run out of money any time soon.
The 'Quantum Gate' is actually a space-time rip and on the other side isn't a wasteland but an alien city filled with skeleton skilled in some cataclysm.
Exploring it, they discover Galactus who chases them and the Dark Matter he fires from his hands strikes the Quantum Gate
TexiKenDammit!That fish really got me!Registered Userregular
Coffee Town, starts off as a movie then turns into some kind of philosophical Scrubs-like message ending, only entirely misplaced.
This was College Humor's full length movie from a bit back, something about Dennis Reynolds using a not-Starbucks for his work office with his friends Jean Ralphio and Eastbound and Down's Stevie, along with Josh Groban and Mockingbird, and then something about fearing change and they want to rob the coffee place so it doesn't become a bistro or something, I don't know, it's all over the place. And Howerton does this really bad, mumbling voice over that sounds completely different to how he sounds on Always Sunny or in the rest of the film. Really he just seems to lack any sort of enthusiasm for the role, Jean Ralphio plays basically the same character he does in P&R and House of Lies, same with Stevie. The plot is nonexistant and truly comes across more like a bunch of ten minutes skits put together and starts off ok, at least falling into that ignorable dumb category films do, but then just sort of becomes rubbish. It does get points for referencing the movie Rad because that was a great movie like 3 Ninjas, but then the end feels too defeatist, or rather some thirty year old pining to be 25 again.
IMO it's an okay film only, but a great example of art design. It makes for a better "The Art of..." coffee table book than a movie. There's a great film in there, but it would've needed a rewrite (especially the final confrontation) and possibly a different director who's good beyond establishing atmosphere.
The director's cut is significantly better than theatrical. I love Dark City but a lot of it is the atmosphere.
That Batman movie is goddamn hilarious. The script is incredible.
They may be drinkers, Robin, but they're also human beings.
Some days you just can't get rid of a bomb.
We shall spring them from The Joker's Jack-In-The-Box, through that window, out over the sea, and into the waiting arms of The Penguin's Exploding Octopus! The trigger: one of my riddles, of course, and the bait: You, Catwoman!
Robin: Gosh, Batman. The nobility of the almost-human porpoise. Batman: True, Robin. It was noble of that animal to hurl himself into the path of that final torpedo. He gave his life for ours.
Disposing of pre-atomic submarines to persons who don't even leave their full addresses?! Good day, Admiral!
Gordon: Could be any one of them, but which one? W— which ones? Batman: Pretty fishy what happened to me on that ladder. Gordon: You mean, where there's a fish, there could be a Penguin. Robin: But wait! It happened at sea! See? "C" for Catwoman! Batman: Yet... an exploding shark was pulling my leg! Gordon: The Joker! O'Hara: It all adds up to a sinister riddle. Riddle-er. Riddler? Gordon: Oh, A thought strikes me. So dreadful I scarcely dare give it utterance. Batman: The four of them. Their forces combined... Robin: Holy nightmare!
Many years ago (between the ages of 8 and 17) I was a VO artist. I kind of fell into it, my mom's best friend was a prolific voice over actress and thought I had a good speaking voice, her agent agreed and I was one of the few kids of my age who could a) read faster than I could speak and b) take direction well, which are pretty much the only required skills for a VA who is a minor (as you can imagine once my voice broke there was a lot more competition and I got a lot less work, but at that point I'd made enough to put myself through University so whatevs). I did mostly commercials but also a few vidja games - Psygnosis' adaptation of City of the Lost Children and the very first Harry Potter spring to mind. It was pretty sweet because my school let me skip to go do them.
One day I found myself in a studio in London doing some dubs for a part in the movie played by a child, apparently their voice was no good (I think the issue was that the part was actually played by a little girl but the character was actually a boy?). There was a guy in the booth next to me who was reading for the actor in the scene - this isn't uncommon even though the scene was already in the can, as it gets a more natural VA performance. I didn't recognise him, but I assumed he was the Director.
I say I might have been in DC because I'm not credited (which is not unusual for such a minor thing) and I've never actually seen the movie, but I vaguely remember the scene I was dubbing - it was a young pale kid with fucked up teeth and a creepy hat slowly stalking a man. I think at one point he scratched some claw-like nails along a wall? I had to make a lot of hissing and cackling noises - there were no actual words or lines that I remember, just creepy sounds.
I later learned from my Dad that I'd spent two hours in a booth hissing and spitting at Kiefer Sutherland.
I might actually watch this tonight, although I doubt I'd be able to tell if it was actually my voice that made it in. I don't even know if they kept the scene.
*Edit* Out of curiousity I just looked up the only ad campaign I did voicework for that anybody might remember - Playstation 2's "The Third Place" campaign in the UK, and seen that David fucking Lynch was the Director... I had no idea
As an addendum to this, I'm reminded that during in my 'difficult second album phase' (ie attempting to transition into being an actual on-screen actor) I got down to the the last two to be the kid in Muppet Treasure Island and I'm now salty that I'm not writing this from my gold encrusted toilet in a mansion in the Hollywood Hills.
Joker was wasted in that movie - The Riddler out-laughed him, even. It looked like Cesar Romero just wandered onto the set and nobody had the heart to ask him to leave, so swapped him out for a henchman.
I really want them to make a 66 Batman game.
Base it on the Arkham games, but cover up all the violent fighting with POW! balloons, and change the dialogue to match the tone.
I'd be okay with a section like that - perhaps a Mad Hatter-induced episode? - but an entire game? I never managed to sit through an entire episode...
Edit: On a more movie-centric note, what sort of material does the Dark City Director's Cut include? And does it avoid the problem you sometimes get with DCs, namely structural issues and worse pacing, where a scene might be good in itself but it brings the movie to a halt?
Thirith on
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
I'd be okay with a section like that - perhaps a Mad Hatter-induced episode? - but an entire game? I never managed to sit through an entire episode...
Edit: On a more movie-centric note, what sort of material does the Dark City Director's Cut include? And does it avoid the problem you sometimes get with DCs, namely structural issues and worse pacing, where a scene might be good in itself but it brings the movie to a halt?
Minor coloration changes, some minor scene adjustments that flesh out the characters a bit more. There's really no reason you wouldn't watch the DC over the theatrical, it's a superior cut.
Posts
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
*runs away from angry mob
(And the part that does feel like Hollywood malarky - the meetings with a mysterious source in a parking garage - is completely true.)
Incidentally the movie has one small detail that I love: there's a scene where Woodward is talking on the phone in the big, open Washington Post office - and there's some sort of commotion behind him, and he covers his ear with his hand and strains to hear what the source is saying. That made me go: oh, yeah, that must happen a lot in an open office like that. It's one of those details that I never would've thought of on my own, that adds a nice helping of verisimilitude.
MWO: Adamski
(Note: to avoid breaking forum rules, all references to the anime Trigun have been replaced with references to the 1987 hit comedy Three Men and a Baby.)
Show some decorum! We're werewolves, not swearwolves!
Steam: adamjnet
...
Ohhhh
I haven't seen Three Men and a Baby, but about halfway through that synopsis I was beginning to wonder if I should.
That wolf creek thing just sounds boring as shit though.
Fun fact about Dark City - I might be in it.
Many years ago (between the ages of 8 and 17) I was a VO artist. I kind of fell into it, my mom's best friend was a prolific voice over actress and thought I had a good speaking voice, her agent agreed and I was one of the few kids of my age who could a) read faster than I could speak and b) take direction well, which are pretty much the only required skills for a VA who is a minor (as you can imagine once my voice broke there was a lot more competition and I got a lot less work, but at that point I'd made enough to put myself through University so whatevs). I did mostly commercials but also a few vidja games - Psygnosis' adaptation of City of the Lost Children and the very first Harry Potter spring to mind. It was pretty sweet because my school let me skip to go do them.
One day I found myself in a studio in London doing some dubs for a part in the movie played by a child, apparently their voice was no good (I think the issue was that the part was actually played by a little girl but the character was actually a boy?). There was a guy in the booth next to me who was reading for the actor in the scene - this isn't uncommon even though the scene was already in the can, as it gets a more natural VA performance. I didn't recognise him, but I assumed he was the Director.
I say I might have been in DC because I'm not credited (which is not unusual for such a minor thing) and I've never actually seen the movie, but I vaguely remember the scene I was dubbing - it was a young pale kid with fucked up teeth and a creepy hat slowly stalking a man. I think at one point he scratched some claw-like nails along a wall? I had to make a lot of hissing and cackling noises - there were no actual words or lines that I remember, just creepy sounds.
I later learned from my Dad that I'd spent two hours in a booth hissing and spitting at Kiefer Sutherland.
I might actually watch this tonight, although I doubt I'd be able to tell if it was actually my voice that made it in. I don't even know if they kept the scene.
*Edit* Out of curiousity I just looked up the only ad campaign I did voicework for that anybody might remember - Playstation 2's "The Third Place" campaign in the UK, and seen that David fucking Lynch was the Director... I had no idea
Steam: adamjnet
I'm not a fan of Melissa Mcarthy at all, and the first half was really rough for me but it started to click midway through.
Though, and I'm sure this is mentioned in every review, Jason Statham is the best part of the movie.
Hanrattey wasn't supposed to be tough or grizzled. He was supposed to be awkward and humorless.
"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 it was good it's just... a great deal of Dre and Cube self-congratulation. The theme they handled is important, but the second major theme that's persisted throughout hiphop's history is the misogyny and in this case, not only do they ignore the fact that Dre is a repeated physical abuser but they also ignore a lot of the female contributions to the group and to Ruthless. Just as Stonewall is rightfully being criticized for erasing POC, Straight Outta Compton should be criticized for erasing women.
here's an article by Dee Barnes about it
http://gawker.com/heres-whats-missing-from-straight-outta-compton-me-and-1724735910
pleasepaypreacher.net
darkhorizons.com/news/38450/details-on-the-original-fantastic-four-script
I dunno. At the risk of bringing politics into this, people have been trying to pin stuff - anything they can get to stick - on the Clintons for twenty years now. And those backing the fishing expedition ongoing investigation(s) aren't going to run out of money any time soon.
That's certainly more ambitious.
pleasepaypreacher.net
This was College Humor's full length movie from a bit back, something about Dennis Reynolds using a not-Starbucks for his work office with his friends Jean Ralphio and Eastbound and Down's Stevie, along with Josh Groban and Mockingbird, and then something about fearing change and they want to rob the coffee place so it doesn't become a bistro or something, I don't know, it's all over the place. And Howerton does this really bad, mumbling voice over that sounds completely different to how he sounds on Always Sunny or in the rest of the film. Really he just seems to lack any sort of enthusiasm for the role, Jean Ralphio plays basically the same character he does in P&R and House of Lies, same with Stevie. The plot is nonexistant and truly comes across more like a bunch of ten minutes skits put together and starts off ok, at least falling into that ignorable dumb category films do, but then just sort of becomes rubbish. It does get points for referencing the movie Rad because that was a great movie like 3 Ninjas, but then the end feels too defeatist, or rather some thirty year old pining to be 25 again.
The director's cut is significantly better than theatrical. I love Dark City but a lot of it is the atmosphere.
It's goofy, ham-fisted, cheap looking, and adorable - it was like watching a school production of Batman.
Utter gold.
Choose Your Own Chat 1 Choose Your Own Chat 2 Choose Your Own Chat 3
As an addendum to this, I'm reminded that during in my 'difficult second album phase' (ie attempting to transition into being an actual on-screen actor) I got down to the the last two to be the kid in Muppet Treasure Island and I'm now salty that I'm not writing this from my gold encrusted toilet in a mansion in the Hollywood Hills.
Steam: adamjnet
That's probably my favourite Batman quote. Adam West don't shiv.
Base it on the Arkham games, but cover up all the violent fighting with POW! balloons, and change the dialogue to match the tone.
Edit: On a more movie-centric note, what sort of material does the Dark City Director's Cut include? And does it avoid the problem you sometimes get with DCs, namely structural issues and worse pacing, where a scene might be good in itself but it brings the movie to a halt?
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
also, it's almost time for Instant Film Watch Society again, so hit up @Thomamelas if you're interested
Yes, which is the biggest boon.
Sorry, I've already met my allocated once-yearly allotment of Jesse Eisenberg films, and I'm planning on seeing Supes v. Bats, so yeah can't do that