The train fight between Red Grant and Bond is flat-out my favourite fight scene in movies.
Not insignificant to that is the five minutes of tense build up beforehand. "The first one won't kill you... nor the second... Not even the third. Not 'till you crawl over here, and you kiss my foot."
While I'm not blind to The World is Not Enough's problems, there's more than enough good in it for me to give it a pass. Having Zhukovsky back was awesome (Robbie Coltrane can basically do no wrong). The entire opening sequence is great. Sophie Marceau is at her most jaw-dropping. Yeah, it has its issues, and in some cases big ones. But I unashamedly enjoy it.
Die Another Day, though? Well, the Blu-ray gives the speakers a workout like very few other movies. I mean, it is goddamn staggering to listen to. That was actually enough to get me to sit through it again. <unpopular opinion alert> Even it has its occasional charms </unpopular opinion alert>, albeit not many, but it is by far the weakest of Brosnan's Bonds and one of the weakest in the whole franchise.
But those first three Brosnan era ones? Love them. Goldeneye is flat-out great (literally the only thing I don't like about it is the car never getting its moment - was that the first time Q pointed out a specific feature that was never used (the Stinger missiles)?). Oh yeah, and the closing song is weak, although its unique score works wonderfully. Tomorrow Never Dies does get goofy, but it's really solid for the most part, and Jonathan Pryce's scenery-chewing is amazing. And TWINE I've already covered.
Talking of stupid, I kinda wish there was a version of Justice League where they CGIed out Henry Cavill but not his moustache, i.e. the opposite of what they did. I like the thought of Superman as the Cheshire Stache.
I'd like a version of Justice League where they CGI'd Superman out completely. He makes every movie worse, at least in this new incarnation.
Funny, he was the best part of JL, sadly. At least he was a threat, unlike Steppenwolf.
For a EU that usually has great villains, I don't know what they were smoking there.
The problem is that what tension can there be when he can do everything the other protagonists can do, but better, and is invulnerable to boot? Aquaman at least had some charm, Wonder Woman the same. Flash and Cyborg didn't do anything for me, and Batman just plain doesn't belong there. Everything takes apart his nifty gizmos lickety split.
And yeah, Steppenwolf as a threat was laughable.
Take Superman out of the film and it would be a passable (AKA mediocre) super hero film.
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cj iwakuraThe Rhythm RegentBears The Name FreedomRegistered Userregular
Talking of stupid, I kinda wish there was a version of Justice League where they CGIed out Henry Cavill but not his moustache, i.e. the opposite of what they did. I like the thought of Superman as the Cheshire Stache.
I'd like a version of Justice League where they CGI'd Superman out completely. He makes every movie worse, at least in this new incarnation.
Funny, he was the best part of JL, sadly. At least he was a threat, unlike Steppenwolf.
For a EU that usually has great villains, I don't know what they were smoking there.
The problem is that what tension can there be when he can do everything the other protagonists can do, but better, and is invulnerable to boot? Aquaman at least had some charm, Wonder Woman the same. Flash and Cyborg didn't do anything for me, and Batman just plain doesn't belong there. Everything takes apart his nifty gizmos lickety split.
And yeah, Steppenwolf as a threat was laughable.
Take Superman out of the film and it would be a passable (AKA mediocre) super hero film.
I mean that Superman should have been the big bad, because he posed way more of a threat than Steppenwolf did. The best scene of the film was when he stares down the Flash when he tries to sneak up behind him.
Or better yet, Doomsday. Batman was kind of wasted in the film, which is a shame, because Affleck's great at being both Wayne and Bats.
Talking of stupid, I kinda wish there was a version of Justice League where they CGIed out Henry Cavill but not his moustache, i.e. the opposite of what they did. I like the thought of Superman as the Cheshire Stache.
I'd like a version of Justice League where they CGI'd Superman out completely. He makes every movie worse, at least in this new incarnation.
Funny, he was the best part of JL, sadly. At least he was a threat, unlike Steppenwolf.
For a EU that usually has great villains, I don't know what they were smoking there.
The problem is that what tension can there be when he can do everything the other protagonists can do, but better, and is invulnerable to boot? Aquaman at least had some charm, Wonder Woman the same. Flash and Cyborg didn't do anything for me, and Batman just plain doesn't belong there. Everything takes apart his nifty gizmos lickety split.
And yeah, Steppenwolf as a threat was laughable.
Take Superman out of the film and it would be a passable (AKA mediocre) super hero film.
I mean that Superman should have been the big bad, because he posed way more of a threat than Steppenwolf did. The best scene of the film was when he stares down the Flash when he tries to sneak up behind him.
Or better yet, Doomsday. Batman was kind of wasted in the film, which is a shame, because Affleck's great at being both Wayne and Bats.
How do you expect Steppenwolf to be a threat when they've only really got 1 big hit and even that does that 60-70s rock thing where it juts meanders off into solos for like 3 minutes in the middle of the song and kills the momentum?
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cj iwakuraThe Rhythm RegentBears The Name FreedomRegistered Userregular
Talking of stupid, I kinda wish there was a version of Justice League where they CGIed out Henry Cavill but not his moustache, i.e. the opposite of what they did. I like the thought of Superman as the Cheshire Stache.
I'd like a version of Justice League where they CGI'd Superman out completely. He makes every movie worse, at least in this new incarnation.
Funny, he was the best part of JL, sadly. At least he was a threat, unlike Steppenwolf.
For a EU that usually has great villains, I don't know what they were smoking there.
The problem is that what tension can there be when he can do everything the other protagonists can do, but better, and is invulnerable to boot? Aquaman at least had some charm, Wonder Woman the same. Flash and Cyborg didn't do anything for me, and Batman just plain doesn't belong there. Everything takes apart his nifty gizmos lickety split.
And yeah, Steppenwolf as a threat was laughable.
Take Superman out of the film and it would be a passable (AKA mediocre) super hero film.
I mean that Superman should have been the big bad, because he posed way more of a threat than Steppenwolf did. The best scene of the film was when he stares down the Flash when he tries to sneak up behind him.
Or better yet, Doomsday. Batman was kind of wasted in the film, which is a shame, because Affleck's great at being both Wayne and Bats.
How do you expect Steppenwolf to be a threat when they've only really got 1 big hit and even that does that 60-70s rock thing where it juts meanders off into solos for like 3 minutes in the middle of the song and kills the momentum?
I also would have settled for the band being the villain.
Talking of stupid, I kinda wish there was a version of Justice League where they CGIed out Henry Cavill but not his moustache, i.e. the opposite of what they did. I like the thought of Superman as the Cheshire Stache.
I'd like a version of Justice League where they CGI'd Superman out completely. He makes every movie worse, at least in this new incarnation.
Funny, he was the best part of JL, sadly. At least he was a threat, unlike Steppenwolf.
For a EU that usually has great villains, I don't know what they were smoking there.
The problem is that what tension can there be when he can do everything the other protagonists can do, but better, and is invulnerable to boot? Aquaman at least had some charm, Wonder Woman the same. Flash and Cyborg didn't do anything for me, and Batman just plain doesn't belong there. Everything takes apart his nifty gizmos lickety split.
And yeah, Steppenwolf as a threat was laughable.
Take Superman out of the film and it would be a passable (AKA mediocre) super hero film.
I mean that Superman should have been the big bad, because he posed way more of a threat than Steppenwolf did. The best scene of the film was when he stares down the Flash when he tries to sneak up behind him.
Or better yet, Doomsday. Batman was kind of wasted in the film, which is a shame, because Affleck's great at being both Wayne and Bats.
How do you expect Steppenwolf to be a threat when they've only really got 1 big hit and even that does that 60-70s rock thing where it juts meanders off into solos for like 3 minutes in the middle of the song and kills the momentum?
Well two big hits at least
RedTide#1907 on Battle.net
Come Overwatch with meeeee
Talking of stupid, I kinda wish there was a version of Justice League where they CGIed out Henry Cavill but not his moustache, i.e. the opposite of what they did. I like the thought of Superman as the Cheshire Stache.
I'd like a version of Justice League where they CGI'd Superman out completely. He makes every movie worse, at least in this new incarnation.
Funny, he was the best part of JL, sadly. At least he was a threat, unlike Steppenwolf.
For a EU that usually has great villains, I don't know what they were smoking there.
The problem is that what tension can there be when he can do everything the other protagonists can do, but better, and is invulnerable to boot? Aquaman at least had some charm, Wonder Woman the same. Flash and Cyborg didn't do anything for me, and Batman just plain doesn't belong there. Everything takes apart his nifty gizmos lickety split.
And yeah, Steppenwolf as a threat was laughable.
Take Superman out of the film and it would be a passable (AKA mediocre) super hero film.
I mean that Superman should have been the big bad, because he posed way more of a threat than Steppenwolf did. The best scene of the film was when he stares down the Flash when he tries to sneak up behind him.
Or better yet, Doomsday. Batman was kind of wasted in the film, which is a shame, because Affleck's great at being both Wayne and Bats.
How do you expect Steppenwolf to be a threat when they've only really got 1 big hit and even that does that 60-70s rock thing where it juts meanders off into solos for like 3 minutes in the middle of the song and kills the momentum?
Well two big hits at least
Right, yes. 2 big hits and the second part still stands.
Just posting this because it has the real Kevin McCallister talking about Home Alone 4 which apparently completely fucks up the Home Alone lore, and now you know.
I was curious if there are any surviving cast members from It's A Wonderful Life. Apparently some of the child actors are still around, including Karolyn Grimes, who played Zuzu. Age 6 then, age 78 now. And she may be starring in an upcoming sequel:
It's a Wonderful Life: The Rest of the Story
George Bailey's troubled grandson is forever changed when his Aunt Zuzu comes back as an angel and reveals how much better the world would have been had he never been born. Production is moving forward steadily as of May 2015 according to producer Bob Farnsworth...
BMD pointed out that the camera in that poster appears to be positioned right around dick level, and now i can't unsee it.
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.
Checking out more 80's Japanese stuff. This film is from Shinji Somai, a director who would grow into one of Japan's leading directors before an untimely death to lung cancer at the start of the new millennium. Many of his early films, like this one, were youth or genre focused. The only one of his I had seen prior is Love Hotel, a Roman Porno (soft-core series from Nikkatsu; artistically free but with quotas on nudity/sexual content) that was surprisingly artful but not all that engaging.
This one is about a high school girl who is named as the successor in a struggling yakuza family and decides to accept despite it being against her nature. As the title suggest, she often wears a sailor suit, and at one point uses a machine gun. It sounds like exploitation or a wacky genre film, but it's played completely straight. Somai's direction is also not what you would expect from the material, preferring to render the entire film in long takes that take advantage of physical space and rarely include closeups.
This manner of shooting does bring a sort of conceptual realism in which violence and conversation feel grounded, and there are some very impressive and beautiful long sequences that are noteworthy both in their staging and camera movement. The other effect this has is it slows the film's pace down considerably. This is about two hours, and the plot really doesn't justify the length, nor does the achieved semi-somber tone enhance the drama. Subplots that are extraneous feel doubly so, and I found myself tuning the story out a bit while being pulled back in every few minutes by the strong craft.
Love Hotel had the same problem, where its sensuality felt distant, like it wasn't what the movie was invested in. By the same measure, this film should be strange and wild---and it's strange, but only in the ways it isn't. Somai would go on to make a number of art films, which I'm going to bet are excellent given his creative sensibilities, so I'm looking forward to seeing those. I still liked this, but it wasn't what I was hoping for.
Pierce Brosnan is the bond most let down by his scripts and villians.
Both are literally on a complete downward slope from his first film to his last
Connery's Bond starts well, immediately improves with From Russia With Love and then at least retains that level of excellence with Goldfinger. After that he gracefully swan dives into relative silliness over the course of the next three, but his second and third movies remain absolute high points in the Bond canon. From Russia With Love actually functions as a spy movie, rather than simply as a Bond movie, and Goldfinger is the one where the formula comes together perfectly for the first time.
Pierce Brosnan is the bond most let down by his scripts and villians.
Both are literally on a complete downward slope from his first film to his last
Connery's Bond starts well, immediately improves with From Russia With Love and then at least retains that level of excellence with Goldfinger. After that he gracefully swan dives into relative silliness over the course of the next three, but his second and third movies remain absolute high points in the Bond canon. From Russia With Love actually functions as a spy movie, rather than simply as a Bond movie, and Goldfinger is the one where the formula comes together perfectly for the first time.
Timothy Dalton is highly underrated as Bond. Living Daylights and License to Kill don't get enough love. They were a radical shift from Moore's Bond. Dalton's Bond was doing the gritty reboot thing way before it was popular. I also liked how they played more into Bond being a barely functioning alcoholic who has to cheat his way through challenges. He felt a lot more like Bond from the books.
I may have misunderstood your post, but Dalton didn't play him as a barely functioning alcoholic at all. Dalton's Bond was a steely eyed assassin who was perfectly happy to kill people in cold blood. I agree he was excellent.
TexiKenDammit!That fish really got me!Registered Userregular
License to Kill falters not because of Dalton but because the plot is more like something from a Dirty Harry/Miami Vice mishmash, what with it being about revenge and mobsters in the Keys.
As I always say though, Living Daylights is the best Bond movie.
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That_GuyI don't wanna be that guyRegistered Userregular
I may have misunderstood your post, but Dalton didn't play him as a barely functioning alcoholic at all. Dalton's Bond was a steely eyed assassin who was perfectly happy to kill people in cold blood. I agree he was excellent.
I may be injecting more of the character from the books into him than I care to admit. I always interpreted his dower, kill-happy attitude to be the result of being drunk and having poor impulse control. Granted it's been a while since I've seen either.
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"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
That was the one that bored me after the halfway point.
My favorite is probably Goldfinger(Goldfiiiiingaaaa).
Like the train fight! Hell yeah
Not insignificant to that is the five minutes of tense build up beforehand. "The first one won't kill you... nor the second... Not even the third. Not 'till you crawl over here, and you kiss my foot."
While I'm not blind to The World is Not Enough's problems, there's more than enough good in it for me to give it a pass. Having Zhukovsky back was awesome (Robbie Coltrane can basically do no wrong). The entire opening sequence is great. Sophie Marceau is at her most jaw-dropping. Yeah, it has its issues, and in some cases big ones. But I unashamedly enjoy it.
Die Another Day, though? Well, the Blu-ray gives the speakers a workout like very few other movies. I mean, it is goddamn staggering to listen to. That was actually enough to get me to sit through it again. <unpopular opinion alert> Even it has its occasional charms </unpopular opinion alert>, albeit not many, but it is by far the weakest of Brosnan's Bonds and one of the weakest in the whole franchise.
But those first three Brosnan era ones? Love them. Goldeneye is flat-out great (literally the only thing I don't like about it is the car never getting its moment - was that the first time Q pointed out a specific feature that was never used (the Stinger missiles)?). Oh yeah, and the closing song is weak, although its unique score works wonderfully. Tomorrow Never Dies does get goofy, but it's really solid for the most part, and Jonathan Pryce's scenery-chewing is amazing. And TWINE I've already covered.
Steam | XBL
The problem is that what tension can there be when he can do everything the other protagonists can do, but better, and is invulnerable to boot? Aquaman at least had some charm, Wonder Woman the same. Flash and Cyborg didn't do anything for me, and Batman just plain doesn't belong there. Everything takes apart his nifty gizmos lickety split.
And yeah, Steppenwolf as a threat was laughable.
Take Superman out of the film and it would be a passable (AKA mediocre) super hero film.
I mean that Superman should have been the big bad, because he posed way more of a threat than Steppenwolf did. The best scene of the film was when he stares down the Flash when he tries to sneak up behind him.
Or better yet, Doomsday. Batman was kind of wasted in the film, which is a shame, because Affleck's great at being both Wayne and Bats.
How do you expect Steppenwolf to be a threat when they've only really got 1 big hit and even that does that 60-70s rock thing where it juts meanders off into solos for like 3 minutes in the middle of the song and kills the momentum?
I also would have settled for the band being the villain.
I didn't hate it! The actions was amazing and the editing very good
I give those facets 5 mustaches out of 7
Well two big hits at least
Come Overwatch with meeeee
Right, yes. 2 big hits and the second part still stands.
If it makes you feel better, I still vehemently disagree with you and think it's a damn good movie.
Steam ID XBL: JohnnyChopsocky PSN:Stud_Beefpile WiiU:JohnnyChopsocky
Just posting this because it has the real Kevin McCallister talking about Home Alone 4 which apparently completely fucks up the Home Alone lore, and now you know.
*body horror intensifies*
is he jizzing at the speed of light?
I mean the weird anthropomorphizing aside...
...why is he not wearing socks?
Gross.
He's... always naked from the ankles up.
GET IT, FELLOW KIDS!!!?
SONIC HAS A RING!
Gimme a Sonic movie thats just Trainspotting but for rings.
what
what
But Venom was entertaining too.
Checking out more 80's Japanese stuff. This film is from Shinji Somai, a director who would grow into one of Japan's leading directors before an untimely death to lung cancer at the start of the new millennium. Many of his early films, like this one, were youth or genre focused. The only one of his I had seen prior is Love Hotel, a Roman Porno (soft-core series from Nikkatsu; artistically free but with quotas on nudity/sexual content) that was surprisingly artful but not all that engaging.
This one is about a high school girl who is named as the successor in a struggling yakuza family and decides to accept despite it being against her nature. As the title suggest, she often wears a sailor suit, and at one point uses a machine gun. It sounds like exploitation or a wacky genre film, but it's played completely straight. Somai's direction is also not what you would expect from the material, preferring to render the entire film in long takes that take advantage of physical space and rarely include closeups.
This manner of shooting does bring a sort of conceptual realism in which violence and conversation feel grounded, and there are some very impressive and beautiful long sequences that are noteworthy both in their staging and camera movement. The other effect this has is it slows the film's pace down considerably. This is about two hours, and the plot really doesn't justify the length, nor does the achieved semi-somber tone enhance the drama. Subplots that are extraneous feel doubly so, and I found myself tuning the story out a bit while being pulled back in every few minutes by the strong craft.
Love Hotel had the same problem, where its sensuality felt distant, like it wasn't what the movie was invested in. By the same measure, this film should be strange and wild---and it's strange, but only in the ways it isn't. Somai would go on to make a number of art films, which I'm going to bet are excellent given his creative sensibilities, so I'm looking forward to seeing those. I still liked this, but it wasn't what I was hoping for.
Connery's Bond starts well, immediately improves with From Russia With Love and then at least retains that level of excellence with Goldfinger. After that he gracefully swan dives into relative silliness over the course of the next three, but his second and third movies remain absolute high points in the Bond canon. From Russia With Love actually functions as a spy movie, rather than simply as a Bond movie, and Goldfinger is the one where the formula comes together perfectly for the first time.
Choose Your Own Chat 1 Choose Your Own Chat 2 Choose Your Own Chat 3
Timothy Dalton is highly underrated as Bond. Living Daylights and License to Kill don't get enough love. They were a radical shift from Moore's Bond. Dalton's Bond was doing the gritty reboot thing way before it was popular. I also liked how they played more into Bond being a barely functioning alcoholic who has to cheat his way through challenges. He felt a lot more like Bond from the books.
Choose Your Own Chat 1 Choose Your Own Chat 2 Choose Your Own Chat 3
As I always say though, Living Daylights is the best Bond movie.
I may be injecting more of the character from the books into him than I care to admit. I always interpreted his dower, kill-happy attitude to be the result of being drunk and having poor impulse control. Granted it's been a while since I've seen either.