Assuming most or even some of what he's pitching actually comes out, I'm excited for most of it
Really, everything he announced sounded at least fun, except for SHAZAM 2 (which looks increasingly bad), and The Authority, which
Boy howdy I wish we could stop funneling money into Warren Goddamn Ellis's pocket but he let those dozens of abuse allegations slide right off his back didn't he
Munkus BeaverYou don't have to attend every argument you are invited to.Philosophy: Stoicism. Politics: Democratic SocialistRegistered User, ClubPAregular
Yeah it feels kinda weird that they're announcing all this interconnected stuff when the best things from DC recent have been completely divorced from the totality of the DCU.
It's much more fun using soft continuity for DC shit, especially considering that their heroes are a lot less grounded and a lot more mythological.
Humor can be dissected as a frog can, but dies in the process.
Bloods EndBlade of TyshallePunch dimensionRegistered Userregular
Man Green lanterns has had a wild ride.
Couldn't use jordan or stewart, instead starred gardener and Scott and Cruz
Then retooled to be about John Stewart
Then cancelled and new one about Jordan and Stewart
It would be neat if they included Jo Mullein in Lanterns and had her played by Janelle Monae, since she was the visual inspiration for Jo Mullein's character design.
I think it'll be neat instead of building to giant team up epics they just did the random team ups and cameos like it's no big deal.
Superman needs to decipher a clue? Cut to batcave and Batman helping. Just a quick 5 min scene that shows them as working partners/friends
I personally think that mode of storytelling works well in TV/comics and not as well in movies
When you've got a big canvas and a lot of storytelling real-estate, it's easier for smaller figures to flit in and out and not be disruptive; it comes with the territory, it's built into the rhythms of the stories. But movies are leaner, have less space, they need to be more efficient with their time and "preservation of momentum" is a much bigger concern. A brief pop-in requires either a) catching the audience up on who this guy is, how he fits into this world (even with a big archetype like Batman, is this Adam West Batman, Robert Pattinson Batman, Frank Miller Batman?), or b) Not doing a catchup, and leaving audience members to wonder if they missed something, if they've failed to "prep" for this movie. Either way arrests momentum and diverts attention from the story, in ways that (for me) aren't worth it.
+9
PiptheFairFrequently not in boats.Registered Userregular
I think it'll be neat instead of building to giant team up epics they just did the random team ups and cameos like it's no big deal.
Superman needs to decipher a clue? Cut to batcave and Batman helping. Just a quick 5 min scene that shows them as working partners/friends
I personally think that mode of storytelling works well in TV/comics and not as well in movies
When you've got a big canvas and a lot of storytelling real-estate, it's easier for smaller figures to flit in and out and not be disruptive; it comes with the territory, it's built into the rhythms of the stories. But movies are leaner, have less space, they need to be more efficient with their time and "preservation of momentum" is a much bigger concern. A brief pop-in requires either a) catching the audience up on who this guy is, how he fits into this world (even with a big archetype like Batman, is this Adam West Batman, Robert Pattinson Batman, Frank Miller Batman?), or b) Not doing a catchup, and leaving audience members to wonder if they missed something, if they've failed to "prep" for this movie. Either way arrests momentum and diverts attention from the story, in ways that (for me) aren't worth it.
This is also why TV is a better medium for comic book stories, inherently
I think it'll be neat instead of building to giant team up epics they just did the random team ups and cameos like it's no big deal.
Superman needs to decipher a clue? Cut to batcave and Batman helping. Just a quick 5 min scene that shows them as working partners/friends
I personally think that mode of storytelling works well in TV/comics and not as well in movies
When you've got a big canvas and a lot of storytelling real-estate, it's easier for smaller figures to flit in and out and not be disruptive; it comes with the territory, it's built into the rhythms of the stories. But movies are leaner, have less space, they need to be more efficient with their time and "preservation of momentum" is a much bigger concern. A brief pop-in requires either a) catching the audience up on who this guy is, how he fits into this world (even with a big archetype like Batman, is this Adam West Batman, Robert Pattinson Batman, Frank Miller Batman?), or b) Not doing a catchup, and leaving audience members to wonder if they missed something, if they've failed to "prep" for this movie. Either way arrests momentum and diverts attention from the story, in ways that (for me) aren't worth it.
This is also why TV is a better medium for comic book stories, inherently
There are several really excellent cartoon series examples of why that works so well. I think Justice League Unlimited, Avengers: Earth's Mightiest Heroes, and The Spectacular Spider-Man all did wonderful jobs of managing a growing cast and making the world feel lived-in, without most episodes demanding that you remember everything to get what's going on.
Watched Tár last night. Goddamn did I love that movie.
Transportive and overwhelming and idiosyncratic, playing audience expectations (and understandings of the rhythms of these kind of real-life stories) like a violin, humming with an energy that keeps you at a distance and making sure you KNOW you're at a distance even as you feel yourself drawn closer. A movie that at first seems to be cerebral and suffocatingly dense in its reference points, but that's wallpaper over deep gaping wounds - a structure that is a perfect mirror of its lead.
It would've been so easy for the movie to be a pat allegory or a trite intellectual exercise. "This is really a movie about film directors," or, "What if MeToo but Lesbian?" But instead its this deeply-felt, singular, electrifying experience. I can't stop thinking about it and I can't quite figure out how to talk about it. There's so much going on that I don't know where to start, and yet it also feels so pure and direct that words would feel redundant.
And Cate Blanchett, good God what a performance. Fucking hell. Lydia Tár is one of those instantly towering, singular, iconic creations. The character and the performance I'm most reminded of, and this is maybe a bizarre comparison, is Daniel Plainview. Somebody who feels so larger than life, so filled with a lifetime of experiences that are felt without ever being shown, that they feel pulled from a history book that doesn't exist. Performances that make a fictional character feel like thousands of pages of biographies have been written about them, like they're referencing someone real. Absolutely fucking incredible.
I had been taking it as a given that Michelle Yeoh was taking the Best Actress Oscar because she's great and the story around EEAAO is so compelling, and that might yet be the case, but what an astounding achievement in acting Lydia Tár is. Blown away.
I got a kick out of the Tar review where the writer describes being fascinated by this figure and looking her up and being baffled to find that Lydia Tar is not a real person
guarantee that all of those snow globes would get smashed by very hopeful crack heads.
+1
Raijin QuickfootI'm your Huckleberry YOU'RE NO DAISYRegistered User, ClubPAregular
Still very worried about Julian Sands who has been missing for over two weeks (and sadly, probably dead) but I found this quite funny
A close friend and hiking partner of Julian Sands said it is obvious “something has gone wrong” after the British actor’s disappearance in California’s San Gabriel Mountains.
Yes…it IS obvious…he’s been missing for several weeks
I think it'll be neat instead of building to giant team up epics they just did the random team ups and cameos like it's no big deal.
Superman needs to decipher a clue? Cut to batcave and Batman helping. Just a quick 5 min scene that shows them as working partners/friends
I personally think that mode of storytelling works well in TV/comics and not as well in movies
When you've got a big canvas and a lot of storytelling real-estate, it's easier for smaller figures to flit in and out and not be disruptive; it comes with the territory, it's built into the rhythms of the stories. But movies are leaner, have less space, they need to be more efficient with their time and "preservation of momentum" is a much bigger concern. A brief pop-in requires either a) catching the audience up on who this guy is, how he fits into this world (even with a big archetype like Batman, is this Adam West Batman, Robert Pattinson Batman, Frank Miller Batman?), or b) Not doing a catchup, and leaving audience members to wonder if they missed something, if they've failed to "prep" for this movie. Either way arrests momentum and diverts attention from the story, in ways that (for me) aren't worth it.
Eh... disagree. Depending on the tone of the movie you can even do it as a gag.
Clark and friend (Lois? Jimmy Olsen? Krypto the superdog? Whoever...) find A Clue (tm) and don't have the skills to decipher it.
"...but I know who CAN!" says Clark, as he picks up his phone and selects a contact.
"Hi, it's Clark Kent. I need to ask a favo... huh... yeah... okay. Thanks Bruce"
I think it'll be neat instead of building to giant team up epics they just did the random team ups and cameos like it's no big deal.
Superman needs to decipher a clue? Cut to batcave and Batman helping. Just a quick 5 min scene that shows them as working partners/friends
I personally think that mode of storytelling works well in TV/comics and not as well in movies
When you've got a big canvas and a lot of storytelling real-estate, it's easier for smaller figures to flit in and out and not be disruptive; it comes with the territory, it's built into the rhythms of the stories. But movies are leaner, have less space, they need to be more efficient with their time and "preservation of momentum" is a much bigger concern. A brief pop-in requires either a) catching the audience up on who this guy is, how he fits into this world (even with a big archetype like Batman, is this Adam West Batman, Robert Pattinson Batman, Frank Miller Batman?), or b) Not doing a catchup, and leaving audience members to wonder if they missed something, if they've failed to "prep" for this movie. Either way arrests momentum and diverts attention from the story, in ways that (for me) aren't worth it.
Eh... disagree. Depending on the tone of the movie you can even do it as a gag.
Clark and friend (Lois? Jimmy Olsen? Krypto the superdog? Whoever...) find A Clue (tm) and don't have the skills to decipher it.
"...but I know who CAN!" says Clark, as he picks up his phone and selects a contact.
"Hi, it's Clark Kent. I need to ask a favo... huh... yeah... okay. Thanks Bruce"
He disconnects his phone.
"Batman says it belongs to <villain>"
And then you move on.
How is that any better than not doing that
Why is offloading part of the story to an offscreen character who has no bearing on what we're watching better than doing something on screen, where I'm looking, with the characters I care about
I have a lot of respect for Kenya Barris making the exact same show twice
I am in the business of saving lives.
0
Raijin QuickfootI'm your Huckleberry YOU'RE NO DAISYRegistered User, ClubPAregular
Skinamarink, so far…I’m getting Paranormal Activity vibes where it’s probably good in a dark room with other people who easily get freaked out but alone in the morning…it’s kind of boring
0
Raijin QuickfootI'm your Huckleberry YOU'RE NO DAISYRegistered User, ClubPAregular
I’m going to watch this a different time. Maybe with a better atmosphere I’ll feel more of the movie
The cynical takeaway: A man with a famous last name makes a film starring a man with a famous last name about how you need to stop looking at last names before coming to a conclusion or opinion about someone's work and judge them on its own merit
The optimistic takeaway: There's a fine line between having writers block and having impostor syndrome, between not being creative enough to come up with something on your own/that others aren't already expecting (either because of your last name or because of your prior work), and thinking you're just not talented enough or at all to go on, and that prior (and future) successes are flukes you can either gaze into and feel nothing or watch in awe of and smile at like a maniac. Being by yourself won't stop these thoughts, but sometimes being surrounded by people is just as bad for that too
The realistic takeaway: Mia Goth is a STAR
Way funnier than I expected, not as horrifying as I thought it'd be given the hype of it being edited down from NC17, and a bit less visually impressive than Possessor (I loved stuff like the opening shot and most of the trippy sequences, but too much flashing lights in the first trip made me feel ill)
Two days into February it's a bit early to say something's my film of the year, so I'll limit this to just saying a) I was more satisfied by Infinity Pool than by Possessor, and b) Brandon Cronenberg has done it again
I'm so impressed by Mia doing this, X and Pearl back to back to back. What an amazing run
I heard Mia Goth's real voice the other day and it threw me for a fuckin' loop
It adds a level of charm to her performance that she sounds how she does while her character is unhinged, and I'm glad they didn't ask her to try masking her voice like every other film seems to
But also the very first time I heard her real voice I was hysterical because someone compared it to if the Oy Mista! You Me Dad? doll was unbelievably polite, and I can't stop thinking about it
After he made a movie where a little girl gets rapidly aged so she can get knocked up by her cousin, I decided I simply do not care to see his movies.
He didn’t age the girl SO she could get knocked up by her cousin.
That makes it sound really bad. Everyone aged quickly and that was the progression of 2 kids aging into maturity too fast. It’s not like the cousin was 22 and they intentionally aged a 5 year old girl so she could legally get fucked by someone.
+3
Raijin QuickfootI'm your Huckleberry YOU'RE NO DAISYRegistered User, ClubPAregular
I’m not saying it’s good. But it’s not nearly as fucked up as it sounds when you put it like that.
+1
MaddocI'm Bobbin Threadbare, are you my mother?Registered Userregular
Everything Shyamalan has done since he moved back down to tiny self funded budgets I have enjoyed on at least some level (The Visit, Split, Glass, Old)
+2
Raijin QuickfootI'm your Huckleberry YOU'RE NO DAISYRegistered User, ClubPAregular
I was already going to see Knock at the Cabin but now I’m considering theater.
Basically because I want to go to the movies soon and the theaters here aren’t playing shit
0
minor incidentexpert in a dying fieldnjRegistered Userregular
Everything Shyamalan has done since he moved back down to tiny self funded budgets I have enjoyed on at least some level (The Visit, Split, Glass, Old)
His low budget Universal phase has definitely been more consistent than the whole $70 million budget era. The Visit is probably my favorite movie of his since The Sixth Sense.
Ah, it stinks, it sucks, it's anthropologically unjust
Posts
Really, everything he announced sounded at least fun, except for SHAZAM 2 (which looks increasingly bad), and The Authority, which
Boy howdy I wish we could stop funneling money into Warren Goddamn Ellis's pocket but he let those dozens of abuse allegations slide right off his back didn't he
It's much more fun using soft continuity for DC shit, especially considering that their heroes are a lot less grounded and a lot more mythological.
Couldn't use jordan or stewart, instead starred gardener and Scott and Cruz
Then retooled to be about John Stewart
Then cancelled and new one about Jordan and Stewart
Superman needs to decipher a clue? Cut to batcave and Batman helping. Just a quick 5 min scene that shows them as working partners/friends
I personally think that mode of storytelling works well in TV/comics and not as well in movies
When you've got a big canvas and a lot of storytelling real-estate, it's easier for smaller figures to flit in and out and not be disruptive; it comes with the territory, it's built into the rhythms of the stories. But movies are leaner, have less space, they need to be more efficient with their time and "preservation of momentum" is a much bigger concern. A brief pop-in requires either a) catching the audience up on who this guy is, how he fits into this world (even with a big archetype like Batman, is this Adam West Batman, Robert Pattinson Batman, Frank Miller Batman?), or b) Not doing a catchup, and leaving audience members to wonder if they missed something, if they've failed to "prep" for this movie. Either way arrests momentum and diverts attention from the story, in ways that (for me) aren't worth it.
Hungry Burgman and his famous film Wild Strawberry (Shake from DQ)
This is also why TV is a better medium for comic book stories, inherently
There are several really excellent cartoon series examples of why that works so well. I think Justice League Unlimited, Avengers: Earth's Mightiest Heroes, and The Spectacular Spider-Man all did wonderful jobs of managing a growing cast and making the world feel lived-in, without most episodes demanding that you remember everything to get what's going on.
Transportive and overwhelming and idiosyncratic, playing audience expectations (and understandings of the rhythms of these kind of real-life stories) like a violin, humming with an energy that keeps you at a distance and making sure you KNOW you're at a distance even as you feel yourself drawn closer. A movie that at first seems to be cerebral and suffocatingly dense in its reference points, but that's wallpaper over deep gaping wounds - a structure that is a perfect mirror of its lead.
It would've been so easy for the movie to be a pat allegory or a trite intellectual exercise. "This is really a movie about film directors," or, "What if MeToo but Lesbian?" But instead its this deeply-felt, singular, electrifying experience. I can't stop thinking about it and I can't quite figure out how to talk about it. There's so much going on that I don't know where to start, and yet it also feels so pure and direct that words would feel redundant.
And Cate Blanchett, good God what a performance. Fucking hell. Lydia Tár is one of those instantly towering, singular, iconic creations. The character and the performance I'm most reminded of, and this is maybe a bizarre comparison, is Daniel Plainview. Somebody who feels so larger than life, so filled with a lifetime of experiences that are felt without ever being shown, that they feel pulled from a history book that doesn't exist. Performances that make a fictional character feel like thousands of pages of biographies have been written about them, like they're referencing someone real. Absolutely fucking incredible.
I had been taking it as a given that Michelle Yeoh was taking the Best Actress Oscar because she's great and the story around EEAAO is so compelling, and that might yet be the case, but what an astounding achievement in acting Lydia Tár is. Blown away.
They should do one that's in a snow globe.
guarantee that all of those snow globes would get smashed by very hopeful crack heads.
A close friend and hiking partner of Julian Sands said it is obvious “something has gone wrong” after the British actor’s disappearance in California’s San Gabriel Mountains.
Yes…it IS obvious…he’s been missing for several weeks
Clark and friend (Lois? Jimmy Olsen? Krypto the superdog? Whoever...) find A Clue (tm) and don't have the skills to decipher it.
"...but I know who CAN!" says Clark, as he picks up his phone and selects a contact.
"Hi, it's Clark Kent. I need to ask a favo... huh... yeah... okay. Thanks Bruce"
He disconnects his phone.
"Batman says it belongs to <villain>"
And then you move on.
How is that any better than not doing that
Why is offloading part of the story to an offscreen character who has no bearing on what we're watching better than doing something on screen, where I'm looking, with the characters I care about
Not really a fan of this humor.
Rock Band DLC | GW:OttW - arrcd | WLD - Thortar
The stereotyping of black people and Jewish people in this movie is like…almost 1980’s bad. It’s not mean or hateful bits it’s BAAAAAAD.
Had a few laughs and some decent moments. Tried waaaaaaaaay too hard to have a message that never shines through at all.
sounds like par for the course for Kenya Barris
The cynical takeaway: A man with a famous last name makes a film starring a man with a famous last name about how you need to stop looking at last names before coming to a conclusion or opinion about someone's work and judge them on its own merit
The optimistic takeaway: There's a fine line between having writers block and having impostor syndrome, between not being creative enough to come up with something on your own/that others aren't already expecting (either because of your last name or because of your prior work), and thinking you're just not talented enough or at all to go on, and that prior (and future) successes are flukes you can either gaze into and feel nothing or watch in awe of and smile at like a maniac. Being by yourself won't stop these thoughts, but sometimes being surrounded by people is just as bad for that too
The realistic takeaway: Mia Goth is a STAR
Way funnier than I expected, not as horrifying as I thought it'd be given the hype of it being edited down from NC17, and a bit less visually impressive than Possessor (I loved stuff like the opening shot and most of the trippy sequences, but too much flashing lights in the first trip made me feel ill)
Two days into February it's a bit early to say something's my film of the year, so I'll limit this to just saying a) I was more satisfied by Infinity Pool than by Possessor, and b) Brandon Cronenberg has done it again
I'm so impressed by Mia doing this, X and Pearl back to back to back. What an amazing run
Steam
It adds a level of charm to her performance that she sounds how she does while her character is unhinged, and I'm glad they didn't ask her to try masking her voice like every other film seems to
But also the very first time I heard her real voice I was hysterical because someone compared it to if the Oy Mista! You Me Dad? doll was unbelievably polite, and I can't stop thinking about it
Steam
Knock at the Cabin is 71% fresh after 91 reviews
he apparently de-grossed that movie too, from the comic book
He didn’t age the girl SO she could get knocked up by her cousin.
That makes it sound really bad. Everyone aged quickly and that was the progression of 2 kids aging into maturity too fast. It’s not like the cousin was 22 and they intentionally aged a 5 year old girl so she could legally get fucked by someone.
Basically because I want to go to the movies soon and the theaters here aren’t playing shit
His low budget Universal phase has definitely been more consistent than the whole $70 million budget era. The Visit is probably my favorite movie of his since The Sixth Sense.