Speaking of horror stuff some people hate. My bedroom has a large pass though room that I use as an office/gaming room attached to it. On the wall in direct view of from my bed there hangs a creepy picture of Angus scrimm. There have been many a night I've woken up only to come in direct eye contact with it while it's awash in the glow of the stupid red lights shining out of my pc.
I've nearly peed myself on more than a few occasions after waking up from a nightmare only to find myself in a new one. It doesn't help that my house is full of weird animals in jars and random skulls and scary pictures. It's no wonder these kids are scared to walk around.
Colossal reminded me of Zebraman, and Zebraman did a much better job of balancing the big silly kaiju movie with serious themes thing.
i just cannot understand this opinion at all
not that it is invalid, it just is completely foreign to me
I really thought I was going to love it, and for a while I did. The tone and focus of the second half felt off.
Making Sudeikis go suddenly evil felt off? Like, he's supposed to be damaged and out of control as well, and him getting creepy and abusive is believable, but it took the focus off of Hathaway's character. Does she continue spiralling out of control? Does she start on the path to redemption? Nah, she just kills a guy who's more messed up than her.
Plus, the origin scene felt really silly and I don't think it was supposed to. There were a lot of moments like that later in the film.
I still enjoyed the movie, but it just sort of went off the rails for me.
Speaking of horror stuff some people hate. My bedroom has a large pass though room that I use as an office/gaming room attached to it. On the wall in direct view of from my bed there hangs a creepy picture of Angus scrimm. There have been many a night I've woken up only to come in direct eye contact with it while it's awash in the glow of the stupid red lights shining out of my pc.
I've nearly peed myself on more than a few occasions after waking up from a nightmare only to find myself in a new one. It doesn't help that my house is full of weird animals in jars and random skulls and scary pictures. It's no wonder these kids are scared to walk around.
Colossal reminded me of Zebraman, and Zebraman did a much better job of balancing the big silly kaiju movie with serious themes thing.
i just cannot understand this opinion at all
not that it is invalid, it just is completely foreign to me
I really thought I was going to love it, and for a while I did. The tone and focus of the second half felt off.
Making Sudeikis go suddenly evil felt off? Like, he's supposed to be damaged and out of control as well, and him getting creepy and abusive is believable, but it took the focus off of Hathaway's character. Does she continue spiralling out of control? Does she start on the path to redemption? Nah, she just kills a guy who's more messed up than her.
Plus, the origin scene felt really silly and I don't think it was supposed to. There were a lot of moments like that later in the film.
I still enjoyed the movie, but it just sort of went off the rails for me.
That's the point of the very last scene
She's solved an external problem, but she still has plenty of internal issues to deal with that the focus has been taken away from
Speaking of horror stuff some people hate. My bedroom has a large pass though room that I use as an office/gaming room attached to it. On the wall in direct view of from my bed there hangs a creepy picture of Angus scrimm. There have been many a night I've woken up only to come in direct eye contact with it while it's awash in the glow of the stupid red lights shining out of my pc.
I've nearly peed myself on more than a few occasions after waking up from a nightmare only to find myself in a new one. It doesn't help that my house is full of weird animals in jars and random skulls and scary pictures. It's no wonder these kids are scared to walk around.
I watched Phantasm 2 again just last week.
Did you almost pee your pants when you saw him too?
0
Options
Raijin QuickfootI'm your Huckleberry YOU'RE NO DAISYRegistered User, ClubPAregular
Speaking of horror stuff some people hate. My bedroom has a large pass though room that I use as an office/gaming room attached to it. On the wall in direct view of from my bed there hangs a creepy picture of Angus scrimm. There have been many a night I've woken up only to come in direct eye contact with it while it's awash in the glow of the stupid red lights shining out of my pc.
I've nearly peed myself on more than a few occasions after waking up from a nightmare only to find myself in a new one. It doesn't help that my house is full of weird animals in jars and random skulls and scary pictures. It's no wonder these kids are scared to walk around.
I watched Phantasm 2 again just last week.
Did you almost pee your pants when you saw him too?
Colossal reminded me of Zebraman, and Zebraman did a much better job of balancing the big silly kaiju movie with serious themes thing.
i just cannot understand this opinion at all
not that it is invalid, it just is completely foreign to me
I really thought I was going to love it, and for a while I did. The tone and focus of the second half felt off.
Making Sudeikis go suddenly evil felt off? Like, he's supposed to be damaged and out of control as well, and him getting creepy and abusive is believable, but it took the focus off of Hathaway's character. Does she continue spiralling out of control? Does she start on the path to redemption? Nah, she just kills a guy who's more messed up than her.
Plus, the origin scene felt really silly and I don't think it was supposed to. There were a lot of moments like that later in the film.
I still enjoyed the movie, but it just sort of went off the rails for me.
That's the point of the very last scene
She's solved an external problem, but she still has plenty of internal issues to deal with that the focus has been taken away from
I buy that. And it lines up with the externalization of internal problems metaphor. But ironically the movie became a lot less believable for me when
it started to focus on their feud, than when it focused on Hathaway accidentally summoning a kaiju and destroying Seoul. The movies strengths were in establishing believable, messed up characters and connecting them with an unbelievable metaphor.
But the battle of two damaged people finale fell flat for me.
Like I said, I don't know if it was a conceptual issue or an execution one, but it just wasn't landing for me.
I watched A Date For Mad Mary today. It's probably impossible to find in the US but I highly recommend it. Seana Kerslake is going to be a Big Deal once she breaks out of the Irish industry
I watched A Date For Mad Mary today. It's probably impossible to find in the US but I highly recommend it. Seana Kerslake is going to be a Big Deal once she breaks out of the Irish industry
I hope this get some screen time in Canada, because it looks really really good.
I sort of get it, but I can't watch most horror because my brain will just latch onto it and I'll be thinking about the scary/gross stuff constantly for the next two weeks. I do like reading the plot synopses on Wikipedia from time to time, there's definitely interesting storytelling and stuff. I just don't go in for all the visceral gore and jump scares. The scariest movies I've liked are like, the Cloverfield movies, or Alien. Same with horror games, the scariest I can go is Bioshock or Half-life 2.
That shit was way better when you were too young to be watching I think. I have been scared to pop in my bluray and put it on because I'm afraid it won't hold up at all.
I'm consistently baffled that Chucky movies continue to be made
There was a DVD I saw someone tried to steal
It was Puppetmaster and all 8 yes 8 films. I just remember one of them was real proto sci fi channel silliness and that was 4?
I'm watching The Meyerowitz Stories and it is well-written and well-performed but I just don't know if I have the patience for the Rich People Are Sad & Have Problems genre anymore
I'm watching The Meyerowitz Stories and it is well-written and well-performed but I just don't know if I have the patience for the Rich People Are Sad & Have Problems genre anymore
Wes Anderson was the last one through the door
I very much appreciate this review, because I had allllllmost talked to myself into checking it out (I have a fascination with Adam Sandler's capacity for, yet frequent refusal to do, good work), but hearing this is enough for me to fight the urge.
I'm watching The Meyerowitz Stories and it is well-written and well-performed but I just don't know if I have the patience for the Rich People Are Sad & Have Problems genre anymore
Wes Anderson was the last one through the door
I very much appreciate this review, because I had allllllmost talked to myself into checking it out (I have a fascination with Adam Sandler's capacity for, yet frequent refusal to do, good work), but hearing this is enough for me to fight the urge.
I recommend watching the opening scene and tapping out
You get Sandler being the most relatable he's ever been (having a tough time finding street parking in a major city while refusing to pay for a garage) and not the part where you're meant to find the problems of people who talk about their "country house" in any way important
I'll see The Meyerowitz Stories, but Noah Baumbach is reeally hit and miss for me. Every once in a while he gets me to care about the rich people problems, which is quite the feat.
I haven't dug one of his movies much since Frances Ha though.
Edit: The most relatable Adam Sandler has ever been was Punch Drunk Love for reasons I'm not proud of.
By making a movie about the struggle to reconcile accusations against Louis CK’s Blue Jasmine director, Woody Allen, CK has also made a movie about the audience’s struggle with himself. This is a film that’s aware of its creator’s reputation. Lest that layer be lost on viewers, one scene finds Charlie Day’s wily sidekick miming masturbation (to completion!) in front of Edie Falco. (Another scene has Topher apologizing to “Women,” as in the entire gender.) All of this may have been intended as a boiling hot gumbo of catharsis, reckoning, and trolling–a playful way to comment on the allegations against him without actually commenting–but it no longer feels that way. Now that sexual harassment and sexism have dominated the discourse for two weeks–spilling out into every facet of the entertainment industry–Louis CK’s intentions look more self-serving. The film now plays like an ambiguous moral inventory of and excuse for everything that allows sexual predators to thrive: open secrets, toxic masculinity, and powerful people getting the benefit of the doubt.
[...]
Setting aside the awkward timing of a male-written movie with a reverse–casting couch subplot and a sidekick who is the human embodiment of locker room talk, the way the film regards open secrets is troubling. “That’s just a rumor,” Louis CK says about the allegations against John Malkovich’s esteemed auteur, echoing how he dismissed his own allegations in real life. “It’s a fucked-up, unproven story. He was never charged for that,” the character continues. Sure, it’s only a character saying so, and early in the film at that, but it’s also the opening salvo to a game of devil’s advocate the real Louis CK is in no position to play.
By the time his character says, “Never judge anybody on their private life,” accepts Les Goodwin’s creative notes right in the middle of a confrontation about maybe dating his teenage daughter, or takes comfort from another character declaring, “Everyone’s a pervert,” the audience has an idea of where he stands.
[...]
Is I Love You, Daddy even a good movie? I don’t know. Maybe if the 2017 audience knew absolutely nothing about the Weinstein scandal or Louis CK’s personal situation, they could evenly assess. It’s not Louis CK’s fault that the former is currently unfolding, but it seems intentional that it brings into sharp relief his own reputation. He sat through however many takes of Charlie Day pretending to masturbate in front of Edie Falco, knowing full well who it would remind people of: himself. He just probably never predicted his personal baggage would be so relevant to the national conversation when the movie came out. Now, he can no longer pretend that his baggage doesn’t matter, and neither can we.
By making a movie about the struggle to reconcile accusations against Louis CK’s Blue Jasmine director, Woody Allen, CK has also made a movie about the audience’s struggle with himself. This is a film that’s aware of its creator’s reputation. Lest that layer be lost on viewers, one scene finds Charlie Day’s wily sidekick miming masturbation (to completion!) in front of Edie Falco. (Another scene has Topher apologizing to “Women,” as in the entire gender.) All of this may have been intended as a boiling hot gumbo of catharsis, reckoning, and trolling–a playful way to comment on the allegations against him without actually commenting–but it no longer feels that way. Now that sexual harassment and sexism have dominated the discourse for two weeks–spilling out into every facet of the entertainment industry–Louis CK’s intentions look more self-serving. The film now plays like an ambiguous moral inventory of and excuse for everything that allows sexual predators to thrive: open secrets, toxic masculinity, and powerful people getting the benefit of the doubt.
[...]
Setting aside the awkward timing of a male-written movie with a reverse–casting couch subplot and a sidekick who is the human embodiment of locker room talk, the way the film regards open secrets is troubling. “That’s just a rumor,” Louis CK says about the allegations against John Malkovich’s esteemed auteur, echoing how he dismissed his own allegations in real life. “It’s a fucked-up, unproven story. He was never charged for that,” the character continues. Sure, it’s only a character saying so, and early in the film at that, but it’s also the opening salvo to a game of devil’s advocate the real Louis CK is in no position to play.
By the time his character says, “Never judge anybody on their private life,” accepts Les Goodwin’s creative notes right in the middle of a confrontation about maybe dating his teenage daughter, or takes comfort from another character declaring, “Everyone’s a pervert,” the audience has an idea of where he stands.
[...]
Is I Love You, Daddy even a good movie? I don’t know. Maybe if the 2017 audience knew absolutely nothing about the Weinstein scandal or Louis CK’s personal situation, they could evenly assess. It’s not Louis CK’s fault that the former is currently unfolding, but it seems intentional that it brings into sharp relief his own reputation. He sat through however many takes of Charlie Day pretending to masturbate in front of Edie Falco, knowing full well who it would remind people of: himself. He just probably never predicted his personal baggage would be so relevant to the national conversation when the movie came out. Now, he can no longer pretend that his baggage doesn’t matter, and neither can we.
Fuckin' yeesh
+31
Options
Raijin QuickfootI'm your Huckleberry YOU'RE NO DAISYRegistered User, ClubPAregular
I'm consistently baffled that Chucky movies continue to be made
There was a DVD I saw someone tried to steal
It was Puppetmaster and all 8 yes 8 films. I just remember one of them was real proto sci fi channel silliness and that was 4?
I don't think I've watched any other Noah Baumbach but good christ do all of them lean on the "people are having a conversation but not actually addressing the thing the other person said, just raising new points" over and over and OVER AND OVER like Meyerowitz Stories does
I don't think I've watched any other Noah Baumbach but good christ do all of them lean on the "people are having a conversation but not actually addressing the thing the other person said, just raising new points" over and over and OVER AND OVER like Meyerowitz Stories does
You may actually die if you watch Margot at the Wedding
I don't think I've watched any other Noah Baumbach but good christ do all of them lean on the "people are having a conversation but not actually addressing the thing the other person said, just raising new points" over and over and OVER AND OVER like Meyerowitz Stories does
Yes.
Frances Ha works pretty well, but it might seriously be because there's less characters in it to talk over each other.
Posts
Not me
Steam
I can't tolerate gore
I've nearly peed myself on more than a few occasions after waking up from a nightmare only to find myself in a new one. It doesn't help that my house is full of weird animals in jars and random skulls and scary pictures. It's no wonder these kids are scared to walk around.
i just cannot understand this opinion at all
not that it is invalid, it just is completely foreign to me
I really thought I was going to love it, and for a while I did. The tone and focus of the second half felt off.
Plus, the origin scene felt really silly and I don't think it was supposed to. There were a lot of moments like that later in the film.
I still enjoyed the movie, but it just sort of went off the rails for me.
I watched Phantasm 2 again just last week.
She's solved an external problem, but she still has plenty of internal issues to deal with that the focus has been taken away from
Did you almost pee your pants when you saw him too?
Always.
I buy that. And it lines up with the externalization of internal problems metaphor. But ironically the movie became a lot less believable for me when
But the battle of two damaged people finale fell flat for me.
Like I said, I don't know if it was a conceptual issue or an execution one, but it just wasn't landing for me.
I hope this get some screen time in Canada, because it looks really really good.
I am very excited.
I sort of get it, but I can't watch most horror because my brain will just latch onto it and I'll be thinking about the scary/gross stuff constantly for the next two weeks. I do like reading the plot synopses on Wikipedia from time to time, there's definitely interesting storytelling and stuff. I just don't go in for all the visceral gore and jump scares. The scariest movies I've liked are like, the Cloverfield movies, or Alien. Same with horror games, the scariest I can go is Bioshock or Half-life 2.
The only movies to actually scare me, that I can think of right now, have been The Descent and Green Room.
Oh, and Ernest Scared Stupid when I was in second grade, I guess
That shit was way better when you were too young to be watching I think. I have been scared to pop in my bluray and put it on because I'm afraid it won't hold up at all.
There was a DVD I saw someone tried to steal
It was Puppetmaster and all 8 yes 8 films. I just remember one of them was real proto sci fi channel silliness and that was 4?
Wes Anderson was the last one through the door
I say I saw it but I turned it off halfway through because I hated it.
I very much appreciate this review, because I had allllllmost talked to myself into checking it out (I have a fascination with Adam Sandler's capacity for, yet frequent refusal to do, good work), but hearing this is enough for me to fight the urge.
I recommend watching the opening scene and tapping out
You get Sandler being the most relatable he's ever been (having a tough time finding street parking in a major city while refusing to pay for a garage) and not the part where you're meant to find the problems of people who talk about their "country house" in any way important
I will watch the rich people have problems
I haven't dug one of his movies much since Frances Ha though.
Edit: The most relatable Adam Sandler has ever been was Punch Drunk Love for reasons I'm not proud of.
Fuckin' yeesh
Wish Upon was awesome.
oh there are more puppet master movies now
hey guess how i feel about this genre
alex guess
I agreed with this post but then clicked unagree because holy shit is Noah Baumbach the worst
You may actually die if you watch Margot at the Wedding
Yes.
Frances Ha works pretty well, but it might seriously be because there's less characters in it to talk over each other.