Random Movie Thoughts Thread

[Totenkindly]

Yeah, that's what I was saying about Mary, the same thing you are -- look at her tone with Stewart outside the car, she doesn't seem angry at that point and actually tender about Stewart's comments about what he knew about her and the doctor. I think at that point she's gone a 180 on the ethical nature of the procedure and is remedying a wrong.

 

[The Cat]

I guess there's just something about Mary

 

[Totenkindly]

This could be viewed as sour grapes of sorts... except that, when you look at these pairs, which of the films is still being watched by new generations of movie goers and which aren't really talked about much anymore? With the majority of these "winners," they are mostly forgotten or ignored in lieu of the better film.

10 Great Movies That Lost Best Picture To Forgettable Winners

Regardless of popular opinion regarding The Academy Awards, the ceremony is arguably the most prestigious celebration of talent in the cinematic calendar.

www.tasteofcinema.com

 

[Totenkindly]

𝑻𝑯𝑰𝑺 𝑰𝑺 𝑪𝑰𝑵𝑬𝑴𝑨 𝑷𝑨𝑹𝑻 12 -𝑫𝒂𝒓𝒓𝒆𝒏 𝑨𝒓𝒐𝒏𝒐𝒇𝒔𝒌𝒚 :

Darren Aronofsky is known for his distinct and often provocative filmmaking style that delves into the psychological and emotional extremes of human experience. His work is intense, visually striking, and highly atmospheric, and he frequently explores themes of obsession, self-destruction, and the boundaries of reality. Aronofsky’s films are often divisive, but they have earned him a reputation as a bold and visionary director.
Requiem for a Dream (2000)

“Requiem for a Dream” is one of Aronofsky’s most impactful films, and it remains a defining work in his career. Based on Hubert Selby Jr.’s novel, the film examines the devastating impact of addiction on four individuals: a mother, her son, his girlfriend, and his best friend. Through intense performances—especially Ellen Burstyn’s haunting portrayal of Sara Goldfarb—the film captures the descent into addiction with unrelenting realism and brutality.

Aronofsky’s stylistic choices, such as rapid-cut montages, split screens, and disorienting close-ups, mirror the characters’ fractured mental states, drawing viewers into their downward spiral. Clint Mansell’s score, particularly the now-iconic “Lux Aeterna,” complements the film’s dark tone. Although it is hard to watch and emotionally harrowing, “Requiem for a Dream” is praised for its unflinching honesty and remains one of the most powerful depictions of addiction in cinema.

Black Swan (2010)

“Black Swan” solidified Aronofsky’s reputation in mainstream cinema and earned Natalie Portman an Academy Award for her intense portrayal of Nina Sayers, a ballerina descending into madness as she prepares for the role of a lifetime. The film is a psychological horror that blends elements of the thriller and supernatural genres, exploring themes of identity, obsession, and the sacrifices required for art.

In “Black Swan,” Aronofsky explores the dualities of light and darkness, innocence and corruption, and perfection and self-destruction. The visual style, with its haunting use of mirrors and shadows, reflects Nina’s fractured psyche as she loses herself in her role as both the White Swan and Black Swan in “Swan Lake.” The film is unsettling and seductive, drawing audiences into Nina’s paranoia and obsession with perfection, making it one of Aronofsky’s most compelling works.

The Fountain (2006)

“The Fountain” is perhaps Aronofsky’s most ambitious and polarizing film. It follows three interwoven stories across different timelines—a Spanish conquistador searching for the Tree of Life, a contemporary scientist trying to cure his wife’s cancer, and a futuristic figure traveling through space. These storylines explore themes of love, loss, and the search for eternal life.
With Hugh Jackman and Rachel Weisz as the leads, the film is visually poetic, filled with stunning imagery and intricate symbolism. Unlike the stark realism of “Requiem for a Dream” or the psychological intensity of “Black Swan,” “The Fountain” feels more abstract, and its experimental nature left audiences divided. For some, it is a moving meditation on life and death; for others, it is overly complex and esoteric. Regardless, “The Fountain” showcases Aronofsky’s willingness to tackle challenging themes with a uniquely artistic approach.

 

[Totenkindly]

Finally watched Challengers (2024), which some people might assume just from the trailer is more shallow than it actually is. It's actually kind of interesting character study of a kind of love-triangle -- but it's not really about sex (even though there's a brief bit of sex and enticement), it's about tennis and relational dynamics and obsessions/indifference, and... well, just a lot of stuff. It's told out of sequence for a point, since it helps withhold some back story not just to hook the viewer's curiosity but also change our understanding of later events when we discover the earlier events. I had no idea how this film would end, and when it does it is surprising and actually pulls together with earlier parts of the film. The three leads (including Zendaya) are just really spot on with their understanding of their characters.

 

[Totenkindly]

So my second comfort film after watching Rogue One the other day was The Incredibles (2004), which just celebrated its 20th anniversary of release.

This was back in the middle of Pixar's heyday before their quality started to vary more greatly.

Aside from the unique art and music design that made it stand out, it is a better superhero film than much of the MCU, and it addresses career vs home/life balance (in an unexpected way). I also appreciated that it asked questions that it didn't really give an answer for -- people have argued about what it's "really trying to say" for years and the trouble with integration by people who have been granted extraordinary abilities or resources.

It has some of the best/integrated set pieces I've seen in a film (with visual, acting, and music) and for being a "family" film skirts the line of almost crossing over into territory considered more adult (including a lot of deaths as well as threats against children). I think it was all handled pretty tastefully and realistically, which just makes it more harrowing. This film routinely brings tears on a few separate scenes no matter when I watch it. it's one of those inspired films that only strikes once or twice for some filmmakers -- everything clicks, everything ties together, everything resonates. (Incredibles 2, while having 1-2 good set pieces with Helen, really feels kind of inert in comparison.)

There's a line in RWBY that has been resonating for me from the finale of Season 9 since it dropped almost two years back: "One small kindness, in one small moment, led to such a marvelous transformation," followed by, "Much like one act of dishonesty... led to such an unfortunate change." And it comes back to my mind today while watching this film. If Bob Parr had been kinder to Buddy Pine, would he have ever given up on his heroes? Would he have become an arms designer and dealer? Would he have eventually become Syndrome? How would this have changed the world? In the end, his initial disdain for a kid who admired him resulted in an unfortunate change that years later hurt a lot of people, killed a lot of supers, and almost destroyed Bob's family.

At the time this film came out, my mental and emotional health was on the decline and I didn't have a lot of gas left in my tank. I remember seeing this 6 times (?) in the theater and having it basically memorized. I was trapped in the same suburban existence feeling like nothing mattered and my life had no purpose, while I was doing things that didn't fit with my interests or gifts. I couldn't help but resonate with this film. How does one resolve all those feelings of pointlessness while still being true to the connections they have and people depending on them?

 

[The Cat]

Not to mention Helen Parr talk about Mrs Fantastic. Meow.

 

[Julius_Van_Der_Beak]

The Fountain (2006)

“The Fountain” is perhaps Aronofsky’s most ambitious and polarizing film. It follows three interwoven stories across different timelines—a Spanish conquistador searching for the Tree of Life, a contemporary scientist trying to cure his wife’s cancer, and a futuristic figure traveling through space. These storylines explore themes of love, loss, and the search for eternal life.
With Hugh Jackman and Rachel Weisz as the leads, the film is visually poetic, filled with stunning imagery and intricate symbolism. Unlike the stark realism of “Requiem for a Dream” or the psychological intensity of “Black Swan,” “The Fountain” feels more abstract, and its experimental nature left audiences divided. For some, it is a moving meditation on life and death; for others, it is overly complex and esoteric. Regardless, “The Fountain” showcases Aronofsky’s willingness to tackle challenging themes with a uniquely artistic approach.

I need to rewatch this; I expect I will have a different take on this now than I did then.

Also, whenever I mention this to people, they think I'm talking about The Fountainhead, which is extremely irritating. Like, no, this movie has nothing to do with Objectivism and is about the search for the Fountain of Youth. What I remember is the epic tragedy of it. I remember the movie as depicting the various incarnations of Hugh Jackman of coming so close, but failing.

 

[Totenkindly]

‘Gladiator II’ Review: Paul Mescal Is a Pensive Avenger in Ridley Scott’s Serviceable but Far From Great Sequel

It's a solid piece of neoclassical popcorn, with Paul Mescal as a pensive avenger, but it's ultimately a mere shadow of "Gladiator."

variety.com

Here it comes... the onslaught of Gladiator 2 reviews!

 

[Julius_Van_Der_Beak]

‘Gladiator II’ Review: Paul Mescal Is a Pensive Avenger in Ridley Scott’s Serviceable but Far From Great Sequel

It's a solid piece of neoclassical popcorn, with Paul Mescal as a pensive avenger, but it's ultimately a mere shadow of "Gladiator."

variety.com

Here it comes... the onslaught of Gladiator 2 reviews!

I was curious about these. I don't have a great feeling about it, but at least they flood the Colosseum this time around.

 

[Totenkindly]

I was curious about these. I don't have a great feeling about it, but at least they flood the Colosseum this time around.

I have no expectations for this film.

If it is entertaining and isn't shite, I guess I'll watch it.

 

[Julius_Van_Der_Beak]

I have no expectations for this film.

If it is entertaining and isn't shite, I guess I'll watch it.

It sounds like it might be that, according to that one reviewer, anyway.

 

[Totenkindly]

So my one main gripe already.
MI7 was titled "Dead Reckoning"
Why didn't they call this just "Final Reckoning" to match? Good grief.
Parallel sentence structure. It's easy, you know...

Oh look -- Tom Cruise running.
He's running.
And running.
And running.
And swimming.
And driving.
And running.
And running.
And fighting.
And hanging in the air.
And shouting
And hanging in the air!
(I would have liked to see more running at the end, just to keyhole back out.)

I am so happy that Paris survived the first film.
Pom Klementieff was really great, and I was happy to see her do something big & popular (and physically demanding) past her role as Mantis in GotG.

 

[Julius_Van_Der_Beak]

So my one main gripe already.
MI7 was titled "Dead Reckoning"
Why didn't they call this just "Final Reckoning" to match? Good grief.
Parallel sentence structure. It's easy, you know...

Oh look -- Tom Cruise running.
He's running.
And running.
And running.
And swimming.
And driving.
And running.
And running.
And fighting.
And hanging in the air.
And shouting
And hanging in the air!
(I would have liked to see more running at the end, just to keyhole back out.)

I am so happy that Paris survived the first film.
Pom Klementieff was really great, and I was happy to see her do something big & popular (and physically demanding) past her role as Mantis in GotG.

View attachment 31825

I want to see this, actually. In particular, I'm thrilled that they remembered color exists.

There's a voice over that sounds like Hugo Weaving as Agent Smith; the voice takes on the quality of a "controlled, repressed snarl" like Weaving did in that role. It seems like it's just somebody channeling him, though.

 

[Totenkindly]

I want to see this, actually. In particular, I'm thrilled that they remembered color exists.

Yeah, the first one had some elements of color too.

Here, the two planes (red and yellow) stood out immediately.

There's a voice over that sounds like Hugo Weaving as Agent Smith; the voice takes on the quality of a "controlled, repressed snarl" like Weaving did in that role. It seems like it's just somebody channeling him, though.

You might be referring to Henry Czerny as Kittridge -- not sure.

My other guess is Esai Morales as Gabriel.

 

[Julius_Van_Der_Beak]

Yeah, the first one had some elements of color too.

Here, the two planes (red and yellow) stood out immediately.

I wonder if the plot revolves around them carrying the world's last remaining supply of ketchup and mustard. If they don't win, hamburgers will become extinct, destroying the global economy for 100 years.

You might be referring to Henry Czerny as Kittridge -- not sure.

My other guess is Esai Morales as Gabriel.

It was at around 0:30. It's less pronounced than I remembered it the second time around.

 

[Julius_Van_Der_Beak]

Hahahaha!

People have to be throwing a fit about this...

There are so many weird-ass Christmas movies coming out this year. They make the ones featured on MST3K look tame.

 

[Totenkindly]

I wonder if the plot revolves around them carrying the world's last remaining supply of ketchup and mustard. If they don't win, hamburgers will become extinct, destroying the global economy for 100 years.

They needed a green plane, to represent the dill pickle chip vote.

It was at around 0:30. It's less pronounced than I remembered it the second time around.

Yeah, I hear what you're saying -- it's Kittridge speaking then (he has a similar cadence as Weaving), and I think he's also doing the bit before that, just in a hoarse whisper.

 

[Kingu Kurimuzon]

He should’ve pulled a Time Chasers and switched to a bicycle to pursue Kevin Bacon

 

[Kingu Kurimuzon]

I'd watch this:

View attachment 29147

War boys spraying their mouths with pink spray paint would be awesome.