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Random Movie Thoughts Thread

Totenkindly

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I watched Safety Not Guaranteed. I was very skeptical going in because I wasn't sure how you could build a whole movie out of what is basically a reddit meme. But I found it to be a funny, not mean-spirited, even sweet film that even has some thought-provoking bits about how we related to the past.

That might be Treverrow's best rated film. (I have not seen it.)

I'm even more disappointed we didn't get Duel of the Fates. I think Treverrow might have been able to pull it off and stick the landing by ending the saga with something life-affirming rather than a nonsensical uninspired retread of something that was done better before...

I'm probably going to sound like those annoying "release the Snyder cut" people, but Treverrow never should have been dumped.

Treverrow really did not have much of a resume when he was picked to conclude the nine-film SW series, which was rather surprising. SNG was his best-rated film. Jurassic World made a lot of money but more because of the franchise; the film itself was adequate but not on par with the original. The next film, which he ended up not directing, was weaker.

I think the real nail in his coffin was "The Book of Henry," which just got massively panned and resulted in the eventual news he had been pulled off the final SW film. Disney just decided he wasn't worth the risk, although he was capable of managing a blockbuster level film. They decided to go with more of a known commodity with more of a track record. And at the time, I agreed with that decision.

But then we got ROS and it was clear the whole thing was just one huge cluster. Who knew Abrams would drop such a stinker, that exacerbated all of his worst qualities as a director? Who knew Disney wouldn't oversee the film in the ways that mattered, instead just meddling with the unimportant stuff but not caring at all about making an emotionally or rationally coherent capstone film, and rushing it through production to its detriment? The film really belonged in 2020, the dumpster fire of a year, because it was a dumpster fire of a movie -- or maybe it was the dumpster-fire beacon to signal the onslaught of the travesty that was 2020. Who knows? who cares?

Knowing everything I know now (which Disney knew when it was making its decisions), I would have rather seen Treverrow's film.
 

Julius_Van_Der_Beak

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That might be Treverrow's best rated film. (I have not seen it.)



Treverrow really did not have much of a resume when he was picked to conclude the nine-film SW series, which was rather surprising. SNG was his best-rated film. Jurassic World made a lot of money but more because of the franchise; the film itself was adequate but not on par with the original. The next film, which he ended up not directing, was weaker.

I think the real nail in his coffin was "The Book of Henry," which just got massively panned and resulted in the eventual news he had been pulled off the final SW film. Disney just decided he wasn't worth the risk, although he was capable of managing a blockbuster level film. They decided to go with more of a known commodity with more of a track record. And at the time, I agreed with that decision.

But then we got ROS and it was clear the whole thing was just one huge cluster. Who knew Abrams would drop such a stinker, that exacerbated all of his worst qualities as a director? Who knew Disney wouldn't oversee the film in the ways that mattered, instead just meddling with the unimportant stuff but not caring at all about making an emotionally or rationally coherent capstone film, and rushing it through production to its detriment? The film really belonged in 2020, the dumpster fire of a year, because it was a dumpster fire of a movie -- or maybe it was the dumpster-fire beacon to signal the onslaught of the travesty that was 2020. Who knows? who cares?

Knowing everything I know now (which Disney knew when it was making its decisions), I would have rather seen Treverrow's film.

I haven't seen Jurassic World at all so I suppose as a big budget tentpole film that might be a better guide, rather than a low-budget indie comedy. I do know that everything I know about the script he wrote I like much better than what we actually got. Most importantly ,it continues threads from the other movies in the trilogy that were ignored or retconned (even the one J.J made!), rather than introducing a lot of unexplained out-of-nowhere developments. And it sounds like it actually does a better job of tying up the series as a whole by dealing with elements J.J is obviously not interested in addressing but have really been part of the series since the first film.

I do know that Safety Not Guaranteed is an enjoyable movie on the side of the oddballs, and I'd say he pulled it off, even though he didn't write the script.
 

Totenkindly

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Ended up rewatching Avengers Infinity War and Endgame again, after watching the first two episodes of WandaVision.

I still prefer Infinity War -- I think it is more remarkably consistent in tone and has this feeling of dread that permeates from the very beginning of the film, where the clashes between Thanos' agents and the heroes feel particularly lethal. (I mean, you have an opener that is just shocking in tone and approach, including the perma-death of two major characters, setting the stage for the rest of the film as well.)

You also just see these actors and actresses playing characters they know super-well, so they almost seem to be inhabiting their skin.

You also see a more mature Thanos. Once he gets the first two stones, he seems to retreat from wearing his battle armor (as it doesn't do much for him anyway). But he is taking an active role in his own destiny, after presumably watching his agents failing multiple times. He realized at some point that if he is going to be the hero of this story, he needs to step up... and he does. There is a kind of world-weary acceptance that this venture will rise and fall on his own competence now, his own strength, and both his victory or failure will belong to him. I really like that he always seems calm, and incremental in his progress. He feels like the specter from "It Follows" -- just marching forward, same pace, never stopping, never rushing, getting each piece he needs one at a time. The later comment about, "I am inevitable" -- yes, exactly, and especially by the last moments of IW. His greatest trial is getting the Soul Stone, and it amounts to sacrificing the one thing he loves.

He's just such a fascinating character here, because he's not all "bad" -- he is a hard father but a just one, for example. "You're strong. Me, and generous... me. But I never taught you to lie. That's what you're so BAD at it," he says to Gamora at one point, and he's right. (Later, Nebula says of him that her father is many things, but a liar is not one of them.) he's basically the ENTJ Lawful Evil villain. He will be honest, and be disciplined, and follow rules, and remain fair (he reveals he had offered genocide to Titan, his own planet, but sparing no one... rich and poor would be treated ALIKE) -- but he has no problem with genocide in the first place, is willing to torture one daughter and sacrifice another to fulfill his destiny, and so on.

And it is really clear that he does care for Gamora, in the many scenes they have together. He dotes on her. It is what makes the bit with the soul stone so tragic. (And yet even then, you have a nice counterpoint between this scene -- where he sacrifices someone else to get the stone -- and the comparable version in Endgame, where a different character sacrifices themselves so someone ELSE can get the stone. Thanos abandons love for destiny; the other abandons life out of love.)

The conflict sequences are just so inventive, especially the one on Titan. I mean, I just watch this film, and it is so obvious that each scene was gone through with a fine-tooth comb, then combined and compiled with the other scenes, to create one story arc where things mesh. (like tony's sequences and the fight sequence with dr. strange, but really all of it.) And THEN they work on the details of the emotional journey. Line readings. Facial expressions. Nuances. Dramatic pausing. Every moment feels dire; it's never clear where the film is going or who might survive it. it's as much a study in craftsmanship as anything else, how to put together a film that has a lot of special effects without losing the human drama -- it's all to support the human drama. Everything is just so set up. Like Strange telling Tony he would immediately sell him out to protect the Time stone, so when he offers the stone for Tony's life... you know something bigger is at play. Or the parallel line craftings regarding Vision and Wanda, mirroring their early exchange: "You could never hurt me. I just feel you." Vision's line reading is so perfect when he tells her it's not fair, but she's the only one who can do what has to be done. (Which is correct -- because in the movie continuity, her powers came from the Mind stone, so that's why they operate on a similar frequency.) I'm kinda floored just watching how meticulously it was all put together. And then it's unbelievably tragic, with Vision passing once as a hero, but you know Thanos has acquired the Time stone, so it becomes utterly tragic a minute later as he passes as a victim. If you are paying attention, you already know how that bit will play out.

What really keeps Thanos from being a complete villain is simply his methodical, paced, impersonal approach -- he is solving a problem, and he doesn't seem to bear animosity towards particular people. He even seems to treat Tony with respect, even while preparing to finish him off. it gives him an air of nobility (despite the horrible thing he's doing) that makes the film about his hero's journey, even while you don't want him to win. You also understand his logic, even if it seems cruel and maybe eventually not foolproof (as won't the universe reach this point again in the far future?)

Endgame is a bit more uneven in its tone and approach, although the first and third portions are stellar (examining the human impact of the snap and the inability of the Avengers being able to fix things, and later then the final battle sequence that lasts a good 20-30 minutes). But it still typically has the connections to all the early films. There are a multitude of lines that have meaning if you have seen earlier films. Some (like "To your left") are more obvious. Then there are others, like when Hawkeye is harried with the Gauntlet and Black Panther arrives and says his name to win his attention/trust; back in Avengers: Civil War, when they meet for the first time, Hawkeye introduces himself in a conflict ("i'm clint") and BP responds with, "I don't care." But now he's using his name. Nat's arc is a lot more obvious on repeat viewings. And so are Tony's and Steve's. It's all tracked and set up, in there. So maybe it's a surprise on first viewing, but later viewings support the journeys. Thor pushes his axe into Thanos' chest in IW; it's reversed in Endgame. So much stuff like that.

Still, this is an earlier Thanos. He's full of hubris and aggressive, rather than having the internal centeredness and sense of purpose of Infinity War. He's more violent than he needs to be and seems to take pleasure in cruelty -- where notice how by the final piece of Infinity War he almost becomes gentle, all the ways he doesn't kill the Avengers and even cradles Wanda's head in sympathy at one point. in Endgame, he's also shocked when he loses; he bought into his own myth and competence and is completely taken aback, defeated. it is like that 4-5 years of futility that shaped him into a more centered personality leading to Infinity War hadn't yet happened, and here it results in his defeat.
 

Totenkindly

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Everyone lives in the end

Not quite, but it was one reason I preferred Infinity War as all of that stuff was in the air.

As far as final outcome from Endgame:
 

Totenkindly

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Finally got to sit down with the StudioCanal 4K for "Angel Heart" that arrived on Monday. (It took about a month to get here from Britain, through customs.) The 4K is region-free and better yet, I discovered they actually put a lot of the supplemental materials if not all on the 4K disc. (Usually here in the states, they have been kinda lame about this and leave it on the bluray/dvds, which then brings Region-locked disc issues into play.)

As hoped, it was a really nice transfer. It is still missing a few seconds of footage that appears in the longest US cut (I think it's just missing a bit of chicken blood letting and/or blood from the ceiling, but it's not essential to the plot -- based on the European standards.) But it looks lovely in light of how some of the earlier releases of the film even to Bluray had issues in terms of visual clarity esp in dark scenes. They really went through and spruced up the entire film. I can also hear small lines of dialogue clearly that I either didn't pick up or were muddy in the earlier releases.

Best of all (and I was holding my breath), they did their best to fix the really awful "yellow eyes" snippets, which I won't say much else about to avoid spoilers, it's just it was a really shoddy special effects job and it really marred the film. It looks to be redone and even if not perfect at least doesn't look like someone was gluing construction paper to the film.

Despite a little bit of confusion in trying to piece together the timeline and a too on-the-nose performance by Stocker Fontelieu as the elderly Krusemark (and honestly, while I am of course fond of De Niro, he's also a little too direct as well), i have always loved this film primarily for its tone; and I think it is my favorite Mickey Rourke performance, at least in getting him to act. His costuming/appearance is so great too, he looks like he was peeled off the curb of a dirty NYC alley. The tinny piano motif mirrored in the smoky sax reverberates throughout the film, giving each scene an eerie undertone that meshes with the visual palette, giving dark depth to a melody line that initially (from the 30-40's) was a happier song. Director Alan Parker really nails tone in this film. It all leads up to despair and ruin as the mystery slowly works itself out.

There is at least one joke in the film -- Detective Harry Angel is looking for a missing man named Johnny Favorite, and we find out in passing that Favorite's birth name was Liebling... which of course is "Favorite" in German. So he didn't really change his name as much as just translate it into English.

As I sit here thinking about it, it reminds me of another film that I have only seen once but now want to rewatch -- "Jacob's Ladder". And not the recent remake either, but the original with Tim Robbins. It's another dark fractured tale of mystery with the same tonal qualities.
 

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Interesting coexistence of ideas in a film, The Endless.

The_Endless.jpg
(edited) this is the cinematic equivalent to a bowel movement.
 
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Totenkindly

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Interesting coexistence of ideas in a film, The Endless.

View attachment 22897 - feel free to expand the neat film poster by clicking the thumbnail.

Yup. Seen that. I have "Spring" but haven't watched it yet. I want to watch their first film that plays into The Endless a bit -- Resolution I think it is called.

I think they also made this Synchronic film that is finally coming out on Redbox, again another film I am planning to see soon.
 

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I just ended up rewatching The Legend of Paul and Paula on tv, an East German cult classic from 1973.

It got me wondering. The movie was progressive for its time, both regarding the content (a love affair between a married man and a single mother that starts out as "no questions asked, no strings attached", both defying social expectations and ultimately risking their existence for a shot at happiness - romantic and life-affirming while also acknowledging that you can't always get what you want and sometimes life sucks) and form (several "trippy" sequences, dream sequences, metaphorical images, etc as well as nudity and a liberal treatment of sexuality, abortion, etc. and a small child dies in an accident - also a weird mixture of gritty realism and poetic dreaminess in its aesthetics).

But how would American millenials see it? There is a scene where the protagonist is quatting in front of his love interest's door for days or even weeks and ultimately literally takes an axe to her door when she doesn't want to see him. I guess that falls under "things that wouldn't fly today" even though - or especially because -it is presented as romantic and ultimately in her interest. There is a scene where she yells at her kindergarden aged children and then gives them some coins and sends them out of the house alone to "go see a movie or something" because she isn't feeling well, which is treated as a perfectly normal thing to do. Just off the top of my head.

Is anyone here familiar with the movie?
 

Totenkindly

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I've never heard of it until now, although you did give a pretty thorough description.
 

cascadeco

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I think Alien 3 is my favorite Alien movie

Did HBO recently remove Alien 3? I don't see it on the A to Z list anymore under the TCM section. I am bummed because I was going to watch the third one based on your comment here, as I've only seen the first two. My good friend told me a long while ago the third one wasn't worth watching compared to the first two, and I took his word on it. But now I'm curious.... :(
 

Doctor Cringelord

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Did HBO recently remove Alien 3? I don't see it on the A to Z list anymore under the TCM section. I am bummed because I was going to watch the third one based on your comment here, as I've only seen the first two. My good friend told me a long while ago the third one wasn't worth watching compared to the first two, and I took his word on it. But now I'm curious.... :(

The theatrical and special editions were on my Amazon prime through my hbo addon as recently as last night but I have not checked today
 

cascadeco

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The theatrical and special editions were on my Amazon prime through my hbo addon as recently as last night but I have not checked today

Hmm. I wonder if it's somehow tied to Amazon. I have an hbomax account but not Amazon.

Edit: Nvm. How funny, it's on the Sci fi A to Z list, but not the TCM specific list, where I'd seen the other two. Ok...now I know I can watch it!
 

Doctor Cringelord

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Hmm. I wonder if it's somehow tied to Amazon. I have an hbomax account but not Amazon.

Edit: Nvm. How funny, it's on the Sci fi A to Z list, but not the TCM specific list, where I'd seen the other two. Ok...now I know I can watch it!

I recommend the special edition
 

Totenkindly

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I think they also made this Synchronic film that is finally coming out on Redbox, again another film I am planning to see soon.

update: Watched this yesterday. Definitely worth a watch, although it's flawed in some respects -- but i really like tone AKA "how it feels."

Dornan and Mackey are decent. I'm glad the directors got enough budget this time not only to better enact their ideas but also hire some bigger name actors to star in their films and let them focus on direction.

The time effects are actually kind of cool and organic. it was a nice approach. The script tries to build something more emotionally meaningful, it just never quite locks in although Dornan and Mackey bring a lot to the roles and force it to work as much as possible. There's just of convenience in the script, and a lack of clarity into how the events gel. But still... I really wanted it to work and got something in the payoff regardless.

The film starts off feeling more gritty-dark and horror-esque (kind of like an eerie Fincher-style pic), then shifts gears more into heart-heavy scifi with focus on the human side.

Guys are so funny in how they talk about emotional things. It seems so round-about, (they are walking through it side by side, not face to face), though no less meaningful.
 

Doctor Cringelord

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Why I think the AvP films failed, but could have worked really well...

They didn’t up the stakes on what we’d already seen in the two separate franchises. They felt like a couple of b movies. Setting them in the “present day” was a mistake. They should have been set at some point in the future, and not on earth. Imagine if we had a similar basic plot for the first AvP, but instead it was a team of scientists and colonial marines facing off against the Xenomorphs and Predators. Crossovers need to be epic in scale and tone, and the AvP films failed to do either.
 

cascadeco

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I recommend the special edition

I am not sure I saw the special edition; I just finished watching the only one available on hbomax.

Without giving all of it an in-depth analysis, my knee jerk initial reaction is liking the storyline of Aliens 3 a bit better than the second movie. I definitely enjoyed it. With a lot of movies or books of the Sci fi or fantasy genre, my favorite tends to be and remain the first, simply because of the 'magic' and 100% newness and unknown factor. I think that still holds true for me with the Alien movies; there is a purity and innocence in the first that is impossible to match in sequels. But still, I enjoy the whole series.
 

Totenkindly

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Face/Off is free to Prime viewers and I think the quality (for their best stream) is better than the home bluray offering, so I am cool with that. Ended up watching it last night.

I mentioned it a few weeks ago but I adore this movie; it's so NOT the typical type of movie that affects me, normally I laugh/scorn these kind of flashy blockbusters, but it has an emotional core to it that bypasses logic. I usually get choked up a few times in the film. It feels like it should just be laughable but works regardless; so it kind of amazes me.

I think it's the emotional and ethical core. Both men are driven and twisted by their obsession with each other up front, but Archer changes and grows when forced to wear his enemy's face, while Troy only exploits his opportunities (although even he is not entirely heartless, he's fixated on his brother and willing to do anything for him despite condescending to him much of the time). Some of the emotions, while intense, still feel real; it's like what intensity I can feel inside sometimes is instead turned inside out and exposed externally by the characters. I also like how some of the secondary characters are seen as villains early on, but you see them from an inside perspective later and they actually have a certain nobility to them (I'm thinking Dietrich and Sasha in particular -- Dietrich is kinda cool, and he loves people outside himself).

There's some visually creative moments, including the juxtaposition sequence where Adam is wearing headphones of Olivia Newton John singing "Over the Rainbow" in the middle of a visual gunfight. But this is a film where Cage is playing a guy who is psychologically breaking, so his infamous "crazy moments" actually fit the context of the film much of the time and don't just seem like Cage being weird -- instead he brings some unique verve to the proceedings. (The whole "face OFF" sequence is intuitive and eerie in how it's handled.)

It's odd to see John Carroll Lynch also playing a total jerk guard. The guy has quite a range.
 

Doctor Cringelord

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There's a funny part in American Beauty when Ricky is in the car with his dad, and his dad is ranting about gay people. He yells at Ricky, "don't placate me", so Ricky then proceeds to do just that with his response. Amusing.
 

Doctor Cringelord

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It's odd to see John Carroll Lynch also playing a total jerk guard. The guy has quite a range.

He's up there with John Goodman and Forrest Whitaker as one of those actors who can portray big soft teddy bears one moment, only to play scary monsters in another role.
 
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