Julius_Van_Der_Beak
Fallen
- Joined
- Jul 24, 2008
- Messages
- 22,429
- MBTI Type
- EVIL
- Enneagram
- 5w6
- Instinctual Variant
- sp/so
Spoilers?
-
You are currently viewing our forum as a guest, which gives you limited access to view most discussions and access our other features. By joining our free community, you will have access to additional post topics, communicate privately with other members (PM), view blogs, respond to polls, upload content, and access many other special features. Registration is fast, simple and absolutely free, so please join our community today! Just click here to register. You should turn your Ad Blocker off for this site or certain features may not work properly. If you have any problems with the registration process or your account login, please contact us by clicking here.
Random Movie Thoughts Thread
- Thread starter Kingu Kurimuzon
- Start date
Totenkindly
@.~*virinaĉo*~.@
- Joined
- Apr 19, 2007
- Messages
- 52,160
- MBTI Type
- BELF
- Enneagram
- 594
- Instinctual Variant
- sx/sp
Watching Indiana Jones & The Dial of Destiny currently. I have about an hour to go, and I will revise this entry as needed.
A few comments so far:
1. They did a really great job with de-aging Harrison Ford for the opening 20 minute sequence. However, they did shit with Mads Mikkelsen, it just looks like they went to town on the Blur filter so there is no detail on his cheeks in 4K. (Ford, you could still see his pores.) Just really sloppy. I wonder if they ran out of time/money, so they obviously spent their attention on Indy.
2. A friend of mine kept bitching about how horrible Phoebe Waller-Bridge was in this film. I disagree. She is fine, it's her character (rather amoral) that is disconcerting at times. But that is just one of the film's conceits. I don't particularly like her as a person, but that's just who she is.
3. It seems to be a decently crafted film with Mangold at the helm, and the 4K port is really great -- but a lot of it just feels low-stakes or like noise. Like, there's a long chase through Tangier that is just boring AF. Like, you're just watching things move. But there doesn't feel like any stakes and everyone knows how it will end. I wanted to just FF through it. It's really too bad, because Mangold CAN make decent films with compelling action sequences -- like Knight & Day or Logan. Maybe this is a screen writing issue where they just really didn't make the chase feel like it was high stakes or underlying reasons to drive tension. I'll note the underwater boat ruin scene actually felt emotionally compelling because of one reason everyone who knows Indy would know.
4. I don't think the reels on the fisher boat were large enough to spool out that much air hose. That is a LOT of tube at a 1" inch rubber hose.
5. I really don't like the tonality change with all the civilians getting killed. The first film was beloved because it felt adventurous, and I think in general the only people that died were typically Nazis or people "in the game." This film has a LOT of innocent bystanders getting brutally killed. I think this approach is a mistake.
6. The film finally gets an emotional touchpoint on the fishing boat at mid-point, when you find out what Indy would do if he could travel in time. I wish the rest of the film was so established with emotional depth. Typically in action films, you either need to go super-large (to wow people with a spectacle) or you need to zoom in on a few emotional beats on your heroes to ground the film. Dial of Destiny can't seem to make up its mind; it never really goes big enough in a way that makes your jaw drop, nor does it so far seem to really be nailing the character beats. I hope that when Karen Allen (i am guessing?) shows up, things will click further.
7. Banderas gets about 10 minutes of screen time but pretty much just seems to be playing the typical Spanish pastiche of all such characters he has played.
8. Damn but that Nazi guy is as humongous AF. I Googled him, and he's 7'2", and he's like The Mountain or worse. (For the record, he is 5" taller than Hafþór Júlíus Björnsson but just as proportionally filled out.)
edit:
9. Does Thomas Kretschmann play anyone besides Nazis or Hydra nowadays?
10. This film goes off its rails in the final act. I feel like the first three films had a supernatural element to them but otherwise remained grounded. But IJ4 went full-blown aliens and now IJ5 also does something bonkers. It's not really that satisfying and just seems weird. It generally at least sticks the landing with Karen Allen at the film's end, but -- I just think about everything this film could have been and was not, and then it seems more disappointing.
All in all, it's been okay so far but nothing stellar or horrible, it's well-produced, but I wish they had focused on Indy a lot more emotionally. He's kind of unreachable for half of the film. They had so many opportunities too, like harkening back to his relationship with his own father. But the film stays on the surface. edit: It has a few small moments and then the big moment at the end where there's an emotional connection, but I think it would have been better if it had actually been SET UP. Like, it all just seems to come out of left field. There's no real good established emotional arc here, just a bunch of stuff thrown into the soup because the writers thought it might make the taste interesting.
edit: Ah, this explains why Koepp (who has decent past cred) had a writing credit but the script was just a mess. "Mangold wrote the new screenplay with Jez and John-Henry Butterworth, who worked with him previously on Ford v Ferrari,[80] over the course of six to eight months.[79] Mangold said, "I wanted to really retool the existing script pretty aggressively, almost entirely."[81] Koepp received credit alongside Mangold and the Butterworths for his earlier work.[82]" So Koepp did an earlier treatment but had his work tossed by Mangold and the Butterworths, it wasn't really his script.
I just read about the Siege of Syracuse so it doesn't even seem accurate to the film now.
Oh well. Goodbye, Indiana Jones. In pace requiescat.
A few comments so far:
1. They did a really great job with de-aging Harrison Ford for the opening 20 minute sequence. However, they did shit with Mads Mikkelsen, it just looks like they went to town on the Blur filter so there is no detail on his cheeks in 4K. (Ford, you could still see his pores.) Just really sloppy. I wonder if they ran out of time/money, so they obviously spent their attention on Indy.
2. A friend of mine kept bitching about how horrible Phoebe Waller-Bridge was in this film. I disagree. She is fine, it's her character (rather amoral) that is disconcerting at times. But that is just one of the film's conceits. I don't particularly like her as a person, but that's just who she is.
3. It seems to be a decently crafted film with Mangold at the helm, and the 4K port is really great -- but a lot of it just feels low-stakes or like noise. Like, there's a long chase through Tangier that is just boring AF. Like, you're just watching things move. But there doesn't feel like any stakes and everyone knows how it will end. I wanted to just FF through it. It's really too bad, because Mangold CAN make decent films with compelling action sequences -- like Knight & Day or Logan. Maybe this is a screen writing issue where they just really didn't make the chase feel like it was high stakes or underlying reasons to drive tension. I'll note the underwater boat ruin scene actually felt emotionally compelling because of one reason everyone who knows Indy would know.
4. I don't think the reels on the fisher boat were large enough to spool out that much air hose. That is a LOT of tube at a 1" inch rubber hose.
5. I really don't like the tonality change with all the civilians getting killed. The first film was beloved because it felt adventurous, and I think in general the only people that died were typically Nazis or people "in the game." This film has a LOT of innocent bystanders getting brutally killed. I think this approach is a mistake.
6. The film finally gets an emotional touchpoint on the fishing boat at mid-point, when you find out what Indy would do if he could travel in time. I wish the rest of the film was so established with emotional depth. Typically in action films, you either need to go super-large (to wow people with a spectacle) or you need to zoom in on a few emotional beats on your heroes to ground the film. Dial of Destiny can't seem to make up its mind; it never really goes big enough in a way that makes your jaw drop, nor does it so far seem to really be nailing the character beats. I hope that when Karen Allen (i am guessing?) shows up, things will click further.
7. Banderas gets about 10 minutes of screen time but pretty much just seems to be playing the typical Spanish pastiche of all such characters he has played.
8. Damn but that Nazi guy is as humongous AF. I Googled him, and he's 7'2", and he's like The Mountain or worse. (For the record, he is 5" taller than Hafþór Júlíus Björnsson but just as proportionally filled out.)
edit:
9. Does Thomas Kretschmann play anyone besides Nazis or Hydra nowadays?
10. This film goes off its rails in the final act. I feel like the first three films had a supernatural element to them but otherwise remained grounded. But IJ4 went full-blown aliens and now IJ5 also does something bonkers. It's not really that satisfying and just seems weird. It generally at least sticks the landing with Karen Allen at the film's end, but -- I just think about everything this film could have been and was not, and then it seems more disappointing.
All in all, it's been okay so far but nothing stellar or horrible, it's well-produced, but I wish they had focused on Indy a lot more emotionally. He's kind of unreachable for half of the film. They had so many opportunities too, like harkening back to his relationship with his own father. But the film stays on the surface. edit: It has a few small moments and then the big moment at the end where there's an emotional connection, but I think it would have been better if it had actually been SET UP. Like, it all just seems to come out of left field. There's no real good established emotional arc here, just a bunch of stuff thrown into the soup because the writers thought it might make the taste interesting.
edit: Ah, this explains why Koepp (who has decent past cred) had a writing credit but the script was just a mess. "Mangold wrote the new screenplay with Jez and John-Henry Butterworth, who worked with him previously on Ford v Ferrari,[80] over the course of six to eight months.[79] Mangold said, "I wanted to really retool the existing script pretty aggressively, almost entirely."[81] Koepp received credit alongside Mangold and the Butterworths for his earlier work.[82]" So Koepp did an earlier treatment but had his work tossed by Mangold and the Butterworths, it wasn't really his script.
I just read about the Siege of Syracuse so it doesn't even seem accurate to the film now.
Oh well. Goodbye, Indiana Jones. In pace requiescat.
Last edited:
Totenkindly
@.~*virinaĉo*~.@
- Joined
- Apr 19, 2007
- Messages
- 52,160
- MBTI Type
- BELF
- Enneagram
- 594
- Instinctual Variant
- sx/sp
Welp, despite all the folks online insisting it was a great and enjoyable film, they sure didn't buy tickets -- not on the scale of Infinity War and Endgame -- nor apparently were motivated to attend repeated viewings.
variety.com
it will have a total box office run of right under $200 million (with $80 million of that in the US). That's pretty good for a little indie film with a $5-10 million dollar budget... but not for a film that cost $225 million (with $50 million back in incentives, so really $275 million) + all of the promotional costs.
We are likely to see a ton of changes on what the MCU puts out, because they have been taking a bath in terms of financial returns lately. Dial of Destiny cost $300 million before promotion and only brought in $384 million. The transition of moving from theater to home viewing (due to Disney +) isn't doing them any favors, and jacking up their streaming prices will start to drive people away.
‘The Marvels’ Ends Box Office Run as Lowest-Grossing MCU Movie in History
'The Marvels' will end its run as the lowest-grossing MCU movie of all time.
variety.com
it will have a total box office run of right under $200 million (with $80 million of that in the US). That's pretty good for a little indie film with a $5-10 million dollar budget... but not for a film that cost $225 million (with $50 million back in incentives, so really $275 million) + all of the promotional costs.
We are likely to see a ton of changes on what the MCU puts out, because they have been taking a bath in terms of financial returns lately. Dial of Destiny cost $300 million before promotion and only brought in $384 million. The transition of moving from theater to home viewing (due to Disney +) isn't doing them any favors, and jacking up their streaming prices will start to drive people away.
Julius_Van_Der_Beak
Fallen
- Joined
- Jul 24, 2008
- Messages
- 22,429
- MBTI Type
- EVIL
- Enneagram
- 5w6
- Instinctual Variant
- sp/so
Last edited:
Totenkindly
@.~*virinaĉo*~.@
- Joined
- Apr 19, 2007
- Messages
- 52,160
- MBTI Type
- BELF
- Enneagram
- 594
- Instinctual Variant
- sx/sp
The one-night showing of the remastered Special Edition of "The Abyss" was really nice. They put it in the nice theater at Arundel so even though I had a seat in the back part of the theater, it didn't feel distant in the least, and that theater has all the newest sound equipment.
Cameron's early period of work included a number of scifi / action pictures that also had real-sounding dialogue and decent characterization for the leads and often the secondary cast. I don't remember much about "True Lies" except it was a bit of a genre shift for him, and by the time he made Titanic he seemed more interested in the spectacle and set creation, rather than putting together a completely solid script. Both Titanic and Avatar had broader characterizations but they never felt quite as real as his earlier work (Terminator, Aliens, The Abyss, and Terminator 2).
The core of this film is mainly how well Budd and Lindsey are sketched out, as a couple on the outs that end up being forced past those things to find the kernel of their relationship again. It's just such a touching movie. Mastrantonio and Harris are just really stellar -- I love that she's the thinker and he's the feeler, and boy does Harris emote far beyond most men in any film here, in a way that feels both nurturing and yet masculine -- and the main crew of the rig has that trademark Cameron thing of being memorable even if we don't know much about any of them. (It's one thing Cameron seemed to do well in his early films -- all these secondary characters that had some trait or element that stood out and made them unique.)
Cameron also exhibits his normal trademark of setting up science or plot points ahead of time so nothing seems out of the blue plus you're prepared to just understand and frame it later in the film when it becomes relevant without it taking you out of the picture or needing an info dump that breaks the pacing.
With the film being cleaned up both visually and sound-wise, you can hear all the dialogue, see details especially on the large screen, etc. It's funny that color-wise he relies on purples and lavender/pink (along with occasional lurid green) when there are actually water color shots, and these are similar colors he brought out further in his first Avatar film.
I think the Special Edition ending might have seemed preachy at the time it was released, but the film is now more relevant than ever and it feels entirely appropriate.
This was an Alan Silvestri score, which was ironic because a few times I thought I recognized things used by Horner in Avatar. (Knowing Horner, maybe he cribbed a few things.) But it's quite a lovely score -- large, epic, heartrending at times, sweet at others. The biggest thing I think he was known for at the time was Back to the Future, which is memorable but simpler I think. This is a really rich and beautiful score for a film with both personal and grandiose themes. Silvestri has done a lot of small and mid casual picture scores over his decades in the business, but I think this is among my favorites (with Contact, Infinity War, and Avengers Endgame).
A final thing I appreciate about Cameron is that he doesn't fuck around with his films in the way Lucas does, who just had to "tinker and improve" his original Star Wars trilogy. Yes, the film is remastered, and it's the Special Edition, but you can tell that the aliens (like when Virgil is saved) are prop aliens, not digitally recreated. Cameron isn't ashamed of his old work like Lucas seems to be and accepts it as relics for the time and place he made it. It's kind of endearing to see the alien reach out its hand in that slightly jerky way. Meanwhile, he really EARNED special effects kudos on the water probe at the time and that is solid even nowadays from a digital art perspective.
--
As a connection point since Kimberly Scott is in both films, I also rewatched the original Flatliners last night in the Arrow 4K release that came out in the last few years, and it really is the best the film has ever looked. It might be a little too yellow orange for some scenes, but other scenes like the field this is really nice, and the blue/grey shadow scenes are also nicely shaded. Most of the prior movement to VHS, then DVD, then bluray, the transfers were really bad and the film never looked that great and often the details on a smaller TV were hard to discern -- but this transfer is really beautiful in comparison and recommended if you care about this film.
Some of the insider bitching said Roberts was not allowed to be a "bad" character because one of the producers seemingly wanted to coddle Roberts, but frankly this is not a problem for the film because that subplot again adds an element of diversity to the experiences of those who flatline and then come back. It works emotionally and makes the film feel more complete.
It has Hope Davis in her literal first film role (as a minor character with literally 3-4 minutes of screen time at best, she plays Joe's finance) who just fucking nails it emotionally and takes names -- this is something where you just look at her and see she's a natural actress.
There's some silly stuff about the film -- I kept wanting to yell, "OMG no -- not Billy Mahoney!" during the film -- but those also make the film endearing in some ways. I really don't like many Joel Schumacher films but this is easily my favorite (along with maybe Falling Down and The Lost Boys). The thing is, even where the film fails, it manages to find the kernel of each character, and you end up watching each of them deal with trauma or guilt from their past and having to come to peace with it. The film honestly has something it wants to say, even if it's not going to buy into a specific theology, and each of those subplots comes to some form of completion. James Newton Howard's score also manages to bring out the emotional themes of the film, and the credit music is a thing that will stick with me until the day I flatline myself.
Cameron's early period of work included a number of scifi / action pictures that also had real-sounding dialogue and decent characterization for the leads and often the secondary cast. I don't remember much about "True Lies" except it was a bit of a genre shift for him, and by the time he made Titanic he seemed more interested in the spectacle and set creation, rather than putting together a completely solid script. Both Titanic and Avatar had broader characterizations but they never felt quite as real as his earlier work (Terminator, Aliens, The Abyss, and Terminator 2).
The core of this film is mainly how well Budd and Lindsey are sketched out, as a couple on the outs that end up being forced past those things to find the kernel of their relationship again. It's just such a touching movie. Mastrantonio and Harris are just really stellar -- I love that she's the thinker and he's the feeler, and boy does Harris emote far beyond most men in any film here, in a way that feels both nurturing and yet masculine -- and the main crew of the rig has that trademark Cameron thing of being memorable even if we don't know much about any of them. (It's one thing Cameron seemed to do well in his early films -- all these secondary characters that had some trait or element that stood out and made them unique.)
Cameron also exhibits his normal trademark of setting up science or plot points ahead of time so nothing seems out of the blue plus you're prepared to just understand and frame it later in the film when it becomes relevant without it taking you out of the picture or needing an info dump that breaks the pacing.
With the film being cleaned up both visually and sound-wise, you can hear all the dialogue, see details especially on the large screen, etc. It's funny that color-wise he relies on purples and lavender/pink (along with occasional lurid green) when there are actually water color shots, and these are similar colors he brought out further in his first Avatar film.
I think the Special Edition ending might have seemed preachy at the time it was released, but the film is now more relevant than ever and it feels entirely appropriate.
This was an Alan Silvestri score, which was ironic because a few times I thought I recognized things used by Horner in Avatar. (Knowing Horner, maybe he cribbed a few things.) But it's quite a lovely score -- large, epic, heartrending at times, sweet at others. The biggest thing I think he was known for at the time was Back to the Future, which is memorable but simpler I think. This is a really rich and beautiful score for a film with both personal and grandiose themes. Silvestri has done a lot of small and mid casual picture scores over his decades in the business, but I think this is among my favorites (with Contact, Infinity War, and Avengers Endgame).
A final thing I appreciate about Cameron is that he doesn't fuck around with his films in the way Lucas does, who just had to "tinker and improve" his original Star Wars trilogy. Yes, the film is remastered, and it's the Special Edition, but you can tell that the aliens (like when Virgil is saved) are prop aliens, not digitally recreated. Cameron isn't ashamed of his old work like Lucas seems to be and accepts it as relics for the time and place he made it. It's kind of endearing to see the alien reach out its hand in that slightly jerky way. Meanwhile, he really EARNED special effects kudos on the water probe at the time and that is solid even nowadays from a digital art perspective.
--
As a connection point since Kimberly Scott is in both films, I also rewatched the original Flatliners last night in the Arrow 4K release that came out in the last few years, and it really is the best the film has ever looked. It might be a little too yellow orange for some scenes, but other scenes like the field this is really nice, and the blue/grey shadow scenes are also nicely shaded. Most of the prior movement to VHS, then DVD, then bluray, the transfers were really bad and the film never looked that great and often the details on a smaller TV were hard to discern -- but this transfer is really beautiful in comparison and recommended if you care about this film.
Some of the insider bitching said Roberts was not allowed to be a "bad" character because one of the producers seemingly wanted to coddle Roberts, but frankly this is not a problem for the film because that subplot again adds an element of diversity to the experiences of those who flatline and then come back. It works emotionally and makes the film feel more complete.
It has Hope Davis in her literal first film role (as a minor character with literally 3-4 minutes of screen time at best, she plays Joe's finance) who just fucking nails it emotionally and takes names -- this is something where you just look at her and see she's a natural actress.
There's some silly stuff about the film -- I kept wanting to yell, "OMG no -- not Billy Mahoney!" during the film -- but those also make the film endearing in some ways. I really don't like many Joel Schumacher films but this is easily my favorite (along with maybe Falling Down and The Lost Boys). The thing is, even where the film fails, it manages to find the kernel of each character, and you end up watching each of them deal with trauma or guilt from their past and having to come to peace with it. The film honestly has something it wants to say, even if it's not going to buy into a specific theology, and each of those subplots comes to some form of completion. James Newton Howard's score also manages to bring out the emotional themes of the film, and the credit music is a thing that will stick with me until the day I flatline myself.
Last edited:
Julius_Van_Der_Beak
Fallen
- Joined
- Jul 24, 2008
- Messages
- 22,429
- MBTI Type
- EVIL
- Enneagram
- 5w6
- Instinctual Variant
- sp/so
My favorite thing about The Lost Boys is the mulleted, shirtless, oiled-up, extremely shiny saxophone player on the beach. I'd taken an edible and this part came up, and I was thrown into confusion, wondering what I was watching. I honestly didn't even remember that part, it was a little like slipping into an alternate reality. It's was mind-blowing to me that there was the time where this was the coolest, most awesome thing anyone can imagine.
Other things I like about it include the underground lair, which is cavernous and mysterious. There's also the puzzling moment when the camera focuses on a photo of Jim Morrison. (I know many people hate the cult of Morrison and I myself am no longer a devotee, but the whole moment was so strange, it was worth mentioning.) I suppose they are trying to make the suggestion that there's a comparison to be made because Morrison was forever young since he died young, just like the vampires are forever young.
It's essentially the Goonies, but with with vampires. The horror-adventure combo doesn't really work for me, for whatever reason. For me, this movie is just OK. I also think this movie is kind of this odd thing tonally; for the most part it seems geared for kids despite the rating and it was made after the Temple of Doom, so I don't know why they didn't just slap a PG-13 on this.
Last edited:
Totenkindly
@.~*virinaĉo*~.@
- Joined
- Apr 19, 2007
- Messages
- 52,160
- MBTI Type
- BELF
- Enneagram
- 594
- Instinctual Variant
- sx/sp
Well like I said, I am not a Schumacher fan in general, so... the bar is pretty low.
- Joined
- Oct 15, 2016
- Messages
- 27,403
The Lost Boys is kinda brilliant. I love that its essently just an 80's Brady Bunch Horror Comedy.
Here's the story of a short haired lady
Who was bringing up two very 80's boys
All of them had human tendencies like their mother
The eldest one a teen dream.
It's the story of an undead man named Max
Who was busy with several boys of his own
They were Vampires living all together
Yet they were all alone.
'Til the one day when the lady met this fellow
And he knew that she was much more than just lunch
That this group must somehow form a family
That's the way we all became the Lost Boys bunch
I also loved how the vampires werent some kind of hidden unknown thing. They were full of Sabbat Cainite Masquerade be damned kinda vampires. The people just didnt talk about it or aknowledge it was going on. Perfect metaphor for DV.
Julius_Van_Der_Beak
Fallen
- Joined
- Jul 24, 2008
- Messages
- 22,429
- MBTI Type
- EVIL
- Enneagram
- 5w6
- Instinctual Variant
- sp/so
But what about that saxophone player? Was he some kind of sorcerer?
- Joined
- Oct 15, 2016
- Messages
- 27,403
All saxaphone players are some kind of sorcerer.
Julius_Van_Der_Beak
Fallen
- Joined
- Jul 24, 2008
- Messages
- 22,429
- MBTI Type
- EVIL
- Enneagram
- 5w6
- Instinctual Variant
- sp/so
This is reminding me of a mathematical equation.
He's approaching the epicness of the guy in the movie but not quite there. His hair is too short and there are too many clothes.
- Joined
- Oct 15, 2016
- Messages
- 27,403
Julius_Van_Der_Beak
Fallen
- Joined
- Jul 24, 2008
- Messages
- 22,429
- MBTI Type
- EVIL
- Enneagram
- 5w6
- Instinctual Variant
- sp/so
I was thinking about it last night, and it occured to me that there is a queer reading of to the movie. It seems to me like Michael is bisexual, and he has to choose. He chooses to present as heterosexual, ultimately. Don't vampires always have to do with sexuality, especially taboo sexuality? At least in the post-Bram Stoker stories; I can't account for any Eastern European folklore.
I'm probably not talking about this right, but it makes the movie more interesting to me.
Last edited:
Totenkindly
@.~*virinaĉo*~.@
- Joined
- Apr 19, 2007
- Messages
- 52,160
- MBTI Type
- BELF
- Enneagram
- 594
- Instinctual Variant
- sx/sp
James Cameron Recalls the ‘Physically Taxing’ Underwater Production of ‘The Abyss’: ‘There Was No Way to Make It Easier … That’s Not My Style’
"The Abyss" writer-director James Cameron talks about the film's theatrical rerelease and 4K upgrade alongside "Aliens," "True Lies," and "Titanic"
variety.com
- Joined
- Oct 15, 2016
- Messages
- 27,403
Typically yes, Vampires love giving oral.
Julius_Van_Der_Beak
Fallen
- Joined
- Jul 24, 2008
- Messages
- 22,429
- MBTI Type
- EVIL
- Enneagram
- 5w6
- Instinctual Variant
- sp/so
In the movie Bram Stoker's Dracula, the vampire represents sexuality in general, since the story takes place in Victorian times. Keanu Reeves is the genteel, respectable partner. Mina is faced with a choice between two men and chooses Dracula over her respectable fiance, the perfect Victorian gentleman. I haven't read the book, but I'll bet the book has similar (perhaps unconscious) themes, despite whatever differences might exist.
Last edited:
- Joined
- Oct 15, 2016
- Messages
- 27,403
oh honey child there has not been a single movie thats faithful to the book. Lucy in the book is the perfect picture of victorian virtue till after she becomes a vampire. I love the fuck out of the 90s cinemax version. cant go wrong with that cast and Tom Waites steals the show as Renfield. that movie shaped my sexuality growing up. That being said I'd love to see a pure tabboo porn version of Braham Stokers Dracula I think the talented folks at Adult Time would handle the franchise right. If I were Harker my time in the castle would have been a little different. I'm not saying Dracula would adopt me into his vampire family, but the implication... The idea that mina was the reincarnation of draculas dead wise is also not from the book. In the book the implication is that the vampire is a bisexual forigner coming to hypnotize you and your girlfrind into sucking on parts of people in a most flusterating way. Its kind of a fun bromance between five men who unite in their quest to stick their hard wood into another guy.
Also everything is about sex except sex. Sex is about power for some reason.
