crush thread post
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i could probably use some acid wash jeans again
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Been falling in love with Damon Packard this week. Last night I watched NIGHT PULSE or FATAL PULSE or UNTITLED YUPPIE FEAR THRILLER in which, for one moment, there was a Janet Jackson Compound…
…which later became the Janet Jackson Video Rehearsal Compo…
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I saw Tenet. Sorry, I think it’s rad.
Main criticism
Okay, Elizabeth Debicki’s character was poorly written. BUT, she puts sunscreen on a man’s back to lubricate it and make it easier for her to push him off a yacht.
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Had another friend complain about that character and then remembered Parents Doing Everything For Their Kids has been a running theme in Nolan-chan films.
And Now I am on the other side of that thing I get it.
Interstellar > Dunkirk > TENET is a pretty good run!
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My issue is more that she is yet another female character who suffers in order to motivate a male character. For how unique the action scenes in the movie are, you’d think there would be a similar interest in making the characters unique. Maybe it’s like an equation and you can only have a high concept plot with archetypical characters. I did, however, enjoy how they chose to accentuate her height relative to all the male characters. She’s like a foot taller than everyone else.
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No yeah her being a princess definitely sucks!
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Oh yeah, I just remembered that her character is literally royalty. Maybe Nolan thought her ending was a suitable inversion of that character’s typical arc and therefore felt justified in sticking so close to type for most of the film.
But on that point, I disagree with the CBE.
watched A Taxing Woman (1987), sort of a crime procedural but about tax auditing. plot just a vehicle for getting to watch these people who are good at and enjoying their jobs and seeing how they figure things out - and who are interesting as types since the auditors are kind of a strange mix of police detective and office worker, their main target a kind of secretive mogul who doesn’t even read as an underworld figure most of the time.
a kind of nostalgic thing about the movie is that by today’s standards the elaborate schemes to move money around seem like very nickel and dime stuff: there are no overseas accounts in the caymans or what have you. and i think the movie wants to play with the ambiguity of all these shell companies acting in practice as a kind of safety net for local people abandoned by the official economy (old men who get a live-in nurse in exchange for becoming the CEOs of fictitious companies, etc), idk how plausible i found that idea watching in 2021. there’s a good part at the end where the movie flirts with the idea of this kind of heroic financialisation - it has the creative money mogul staring out over a city which is alive, a huge machine in constant motion, smoke coming out and train cars going by etc - capital in action! but then it looks away, and looks back, but the light has changed, the moment passes - it’s just a huge collection of grey ramshackle buildings stretching out as far as you can see.
it does the police procedural thing of having the two duelling figures on opposite sides of the law who still like and respect each other except here it’s illustrated by a scene where they all hang out together to play Mario Bros.
and as it happens this game actually does have a NES adventure game adaptation by capcom, including a vgm version of the funky main theme arranged by the same guy who did the DuckTales soundtrack
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Fucking, excuse me
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Priscilla Elliott: I know the studio really didn’t want the car. I know a lot of people were really offended by the car. Which I love.
Richard Kelly: I don’t think anyone could have ever won an argument to cut it out, because someone spent all that time to render that. And, you know, we made it look at least that good. You’re just taking money and flushing it down the toilet if you’re not leaving it inside the movie. I think they just went for it. “We’re going to make this an NC-17-rated car commercial.”
It was pretty graphic.
One of the film’s most repeated lines is “Pimps don’t commit suicide,” which is spoken by Boxer Santaros/Jericho Cane in reference to the film’s complicated body-double plot, and then becomes the final piece of Timberlake’s narration as the time-split Roland/Ronald Taverner clasp hands, initiating—possibly—the end of the world.
Richard Kelly: Well, it’s a very loaded phrase.
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I don’t think anyone could have ever won an argument to cut it out, because someone spent all that time to render that.
Priscilla Elliott: I think the word that we always used to joke about was “scope creep.” That’s Richard: scope creep. I always told him, if I was going to get a vanity plate for your car, that’d be what it was: SCP CRP.
this is uncomfortably exact to every cursed decision I’ve ever been involved in
even the language of bad production is universal
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the image that really sticks with me is richard kelly on the phone for hours trying to nickel & dime a guy over his elephant sex tape
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getting every single johnnie to film i haven’t seen from the kg freeleech. will probably be starting with a hero never dies per @anonymous’s glowing praise. watch this space.
oh and here’s samurai wolf II
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so the new James Bond-drama still goes on:
they are supposedly thinking about re-shooting scenes to put new product placements in there, because the new blingy things from 2019 aren’t that blingy anymore… this is getting better every time they Encounter a new bizarre ploy to make this movie not make it to cinemas.
Godzilla vs Kong vs Bond, the 2021 Biggest Baddy Bloody Battle for the lowest grossing $$$ release, I am putting a fiver on Godzilla
#shorting my bet before it’s placed and buying options against my bet to scew myself over idgi!
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this is fucking bleak and i love it
watched Mission Impossible 5 last night and the close up shot on a box for Halo 5 made me cackle. it so immediately dates a film, and also that game was pretty bad
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