Unbreakable has a consistent style even when not applying that style specifically to the main character not because those choices are defaults but because that’s how you establish and maintain a coherent tone, world, and thematic approach.
God if Aquaman did this it’d be a lot better
Still not great, of course
Willem Dafoe's manbun shall forever be a crime against God and Man.
No matter where you go...there you are. ~ Buckaroo Banzai
Big Fish is a film that I disliked quite intensely, and I always bristle irrationally when people express how much they love it, but Finney was definitely very good in it, and pretty much in everything I've seen him in.
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
Big Fish is a film that I disliked quite intensely, and I always bristle irrationally when people express how much they love it, but Finney was definitely very good in it, and pretty much in everything I've seen him in.
It does have some major issues, but the relationship between Finney and Crudup felt incredibly genuine and was a pleasure to watch.
BlackDragon480 on
No matter where you go...there you are. ~ Buckaroo Banzai
My big issue with Big Fish is that the film seems to be 100% on the side of the father - and I find him so self-centred that I want to scream. His stories are twee and seem to be so much about making him the centre of attention. I totally felt for the son, but the film doesn't feel like it truly gives you that option, because it's the son that has to change in order to accommodate the father's needs.
Having said that, I saw it back then at the cinema and haven't seen it since. It's well possible I'd understand it differently now.
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
It's worth reading, because she breaks down the whole "political correctness" argument as the gooseshit it is, and focuses on the power and weaknesses of comedy as a medium.
She mentions it in her thread, but her video on The Producers touches on a lot of this stuff as well and is awesome in its own right, if you have a free 40 minutes(!) to spare:
It's especially a bullshit argument nowadays because we have seen a wave of comedies about race in the past few years: Dear White People, BlackKKlansman, Sorry to Bother You, even Django Unchained and Get Out have elements of parody.
Django especially for me shows a lot of the nastiness other films of the south tend to just overlook or handwave. Like this is a film where the main character is forced to watch a man ripped apart by dogs so as to not show ulterior motives. And the part the film highlights probably isn't even the first or worst thing Django had seen done to a slave.
I would like some money because these are artisanal nuggets of wisdom philistine.
Its like equal parts 12 Years a Slave & Blazing Saddles
And remember the one part everyone seemed to get the vapors about was the n word. Not the brutality of slavery, not the acceptance among society about what was going on, no the n word. Talk about missing the forest from the trees.
I would like some money because these are artisanal nuggets of wisdom philistine.
I found reviews of Django interesting because especially international ones (mostly British because, you know, english language) tended to not really get the cultural context it was (imo) playing too.
I think the film makes less sense without an understanding of the american hagiography of the antebellum south.
Yeah you have to know how the american south in the pre and post civil war era has been portrayed in popular culture to really get the visceral "fuck you" django has for it.
I would like some money because these are artisanal nuggets of wisdom philistine.
I read through that twitter thread about Blazing Saddles, and one of the comments caught my attention. Would it be possible for a remake of Blazing Saddles to be made but with a shifted perspective? The comment specifically mentioned Jordan Peele helming the theoretical remake, which could be really interesting.
There already is a good blazing saddles so there is no reason to remake it. I'd prefer a director/writer take on new fresh ideas and not try and rehash or "bring to a new audience" an older film.
Like Peele is already committed to like a Candyman remake and that's fine horror gets refreshed all the time, Blazing Saddles is completely unneccessary.
I would like some money because these are artisanal nuggets of wisdom philistine.
Maybe I misunderstand what you’re saying, but isn’t that pretty much what the first two Body Snatchers movies were, and successfully so?
Listen, only a Sith deals in absolutes.
Anyway, the premise of Blazing Saddles is highly specific in a way that Body Snatchers isn’t—going back to the original novel, the story made a strong template for any commentary about social conformity to be layered in on top of it. Two different situations really. You could remake High Noon so it was about the Iraq War from the Republican perspective pretty easily, but it’s a lot less rewarding to try and remake, say, Victor/Victoria updated for today’s gay and gender issues. The context is just too different for that to be a good idea—instead we got, say, Tangerine, whose form and content are wholly responding to present circumstances.
Maybe I misunderstand what you’re saying, but isn’t that pretty much what the first two Body Snatchers movies were, and successfully so?
Listen, only a Sith deals in absolutes.
Anyway, the premise of Blazing Saddles is highly specific in a way that Body Snatchers isn’t—going back to the original novel, the story made a strong template for any commentary about social conformity to be layered in on top of it. Two different situations really. You could remake High Noon so it was about the Iraq War from the Republican perspective pretty easily, but it’s a lot less rewarding to try and remake, say, Victor/Victoria updated for today’s gay and gender issues. The context is just too different for that to be a good idea—instead we got, say, Tangerine, whose form and content are wholly responding to present circumstances.
I guess it depends on what you consider a remake and how much of the original you'd consider necessary. I can definitely imagine a film that takes the premise of Blazing Saddles that comments on present-day race relations as well as to what has and hasn't changed since the original film, and I can even imagine such a film to do a good job. I don't think that this is easy, mind you, and my problem with remakes is that most of the time it's the studio that comes up with the idea, not the creative minds. If someone like Jordan Peele said, "I've come up with an idea for a Blazing Saddles remake that does some pretty cool things," I'm there. If Warner Bros. said the same, I'd be more than a little doubtful.
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
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Inquisitor772 x Penny Arcade Fight Club ChampionA fixed point in space and timeRegistered Userregular
I wish more people went out to see this when it was in theaters.
It made 75 times its budget. Lots of people saw it and it got near universal acclaim. What about it is underappreciated?
Go out into the street and ask if anyone knows what the movie "Searching" is. You can even tell them it stars Jon Cho. I'm pretty sure you can spend an entire day talking to people and get maybe 1 or 2 hits. I know this because this movie only played in 2 theaters in the San Francisco Bay Area, and I had to go out of my way into the city to watch it.
That's what I was referring to. It's underappreciated in the popular consciousness because most people don't even know this movie exists.
I watched Conan the Barbarian last night, the 1982 original. I had quite the headache so I thought it best to watch something that wasn't too taxing. It's not going to enter my list of favourite films, but I was surprised by how non-cheesy it was compared to what I was expecting. I thought the film would be very dated, but the way it goes for a mythical tone makes it work surprisingly well, even if you didn't watch it as a kid in the '80s. There is some cheese, but there are also some pretty smart decisions, in particular when it comes to how to use the film's lead.
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
I watched Conan the Barbarian last night, the 1982 original. I had quite the headache so I thought it best to watch something that wasn't too taxing. It's not going to enter my list of favourite films, but I was surprised by how non-cheesy it was compared to what I was expecting. I thought the film would be very dated, but the way it goes for a mythical tone makes it work surprisingly well, even if you didn't watch it as a kid in the '80s. There is some cheese, but there are also some pretty smart decisions, in particular when it comes to how to use the film's lead.
I watched Conan the Barbarian last night, the 1982 original. I had quite the headache so I thought it best to watch something that wasn't too taxing. It's not going to enter my list of favourite films, but I was surprised by how non-cheesy it was compared to what I was expecting. I thought the film would be very dated, but the way it goes for a mythical tone makes it work surprisingly well, even if you didn't watch it as a kid in the '80s. There is some cheese, but there are also some pretty smart decisions, in particular when it comes to how to use the film's lead.
It’s weird how there’s damn near zero dialogue
I actually like that about the original conan, It's like a movie you could almost remove all dialogue and lose nothing. And the score is so good.
It's something I liked about Road to Perdition, a lot of the really important scenes have zero dialogue.
I would like some money because these are artisanal nuggets of wisdom philistine.
He did give one heck of a speech prayer near the end, though.
That's the other side of his performance. The director wisely kept his lines to a minimum, but Arnold showed a lot of charisma when he did get to speak. It's the film that changed his career trajectory from a novelty performer to a box office draw in Commando three years later.
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Willem Dafoe's manbun shall forever be a crime against God and Man.
~ Buckaroo Banzai
Choose Your Own Chat 1 Choose Your Own Chat 2 Choose Your Own Chat 3
~ Buckaroo Banzai
Choose Your Own Chat 1 Choose Your Own Chat 2 Choose Your Own Chat 3
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
I see your Superman and raise you Superman Returns.
https://www.youtube.com/watch?v=HyE1V6Ac49Q
It does have some major issues, but the relationship between Finney and Crudup felt incredibly genuine and was a pleasure to watch.
~ Buckaroo Banzai
Having said that, I saw it back then at the cinema and haven't seen it since. It's well possible I'd understand it differently now.
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
isn't it more of a call than a raise if the two credit sequences are nearly identical
It's worth reading, because she breaks down the whole "political correctness" argument as the gooseshit it is, and focuses on the power and weaknesses of comedy as a medium.
https://www.youtube.com/watch?v=62cPPSyoQkE
pleasepaypreacher.net
Its like equal parts 12 Years a Slave & Blazing Saddles
And remember the one part everyone seemed to get the vapors about was the n word. Not the brutality of slavery, not the acceptance among society about what was going on, no the n word. Talk about missing the forest from the trees.
pleasepaypreacher.net
I think the film makes less sense without an understanding of the american hagiography of the antebellum south.
pleasepaypreacher.net
pleasepaypreacher.net
Better to find a way to talk about today that makes sense for today, instead of using a form that was made for a different context decades ago
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
Like Peele is already committed to like a Candyman remake and that's fine horror gets refreshed all the time, Blazing Saddles is completely unneccessary.
pleasepaypreacher.net
Listen, only a Sith deals in absolutes.
Anyway, the premise of Blazing Saddles is highly specific in a way that Body Snatchers isn’t—going back to the original novel, the story made a strong template for any commentary about social conformity to be layered in on top of it. Two different situations really. You could remake High Noon so it was about the Iraq War from the Republican perspective pretty easily, but it’s a lot less rewarding to try and remake, say, Victor/Victoria updated for today’s gay and gender issues. The context is just too different for that to be a good idea—instead we got, say, Tangerine, whose form and content are wholly responding to present circumstances.
pleasepaypreacher.net
No, John Travolta's soul-patch is the bad guy.
~ Buckaroo Banzai
https://youtu.be/bVFHAvnfW1A
I wish more people went out to see this when it was in theaters.
It made 75 times its budget. Lots of people saw it and it got near universal acclaim. What about it is underappreciated?
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
Go out into the street and ask if anyone knows what the movie "Searching" is. You can even tell them it stars Jon Cho. I'm pretty sure you can spend an entire day talking to people and get maybe 1 or 2 hits. I know this because this movie only played in 2 theaters in the San Francisco Bay Area, and I had to go out of my way into the city to watch it.
That's what I was referring to. It's underappreciated in the popular consciousness because most people don't even know this movie exists.
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
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It’s weird how there’s damn near zero dialogue
I actually like that about the original conan, It's like a movie you could almost remove all dialogue and lose nothing. And the score is so good.
It's something I liked about Road to Perdition, a lot of the really important scenes have zero dialogue.
pleasepaypreacher.net
He was always a good physical actor but at that point his English was not so good
That's the other side of his performance. The director wisely kept his lines to a minimum, but Arnold showed a lot of charisma when he did get to speak. It's the film that changed his career trajectory from a novelty performer to a box office draw in Commando three years later.