Can’t help but think about how much all of this could’ve been avoided by just listening to Werewolves of London in full, followed by a sensible parent-child discussion on how similar it is to Sweet Home Alabama.
Conclusion: the Grey family should have settled on Killer Queen as the soundtrack for their wholesome family car trip, which can blatantly be heard for a nanosecond when she was busy mindtuning the radio.
Other observations include:
The laws of gravity only apply when an X-Man isn’t falling to the ground
Jean’s shirt bloodstain still hasn’t dried even after J-Law’s funeral
Look, Tarantino gets shit for being an out-and-out footperv but Jessica Chastain is regularly shot feet-first. Which sounds like a complaint…
At least Cyclops gets to shout JEAN while eyeblasting Budget Tilda Swinton. Cyclops shouting JEAN followed by an angry laser sound effect takes me back to actually liking the character back in the TAS days
I learned this week that a movie theater in my city shows old movies occasionally when a friend invited me to go see Lawrence of Arabia. Although I’ve been meaning to see that for years, it’s one that I’ve always put off because it’s so long.
Ultimately, I convinced myself to go and I’m glad I did. It was a good one to see in the theater for sure, though that’s by far the longest I’ve ever been in a theater. Between some technical difficulties and a fifteen-minute intermission, I was there from 6:00 p.m. to about 10:30.
I was fortunate enough to see Lawrence of Arabia on 70mm last year. It’s such a gorgeous film. It completely justifies the long runtime. The tonal shift between acts 1 and 2 is pretty wild!
Lawrence of Arabia and Citizen Kane are the two old movies where you have to insist to people, no really, they are really actually as good as whatever your favorite movie is from the past 30 years they’re not stilted old screwball comedy slash Ben Hur bullshit
there’s a lot more than two, but yeah, an early '60s studio epic about the white British dude who liberates the Arabian peninsula for the people living in it doesn’t sound like good odds
I’m still waiting on a film based on him fucking around with a Brough Superior on shoddy country lanes in search of something he can’t find the words for; like a quiet, genteel Easy Rider that ends not with the death of counterculture but with legislation for road safety.
the movie is Lawrence’s (eventually successful) post-war attempts to join different branches of the military under assumed identities to push down his ptsd
flashback scenes of his assault when he was captured during the campaign/how this must have interplayed with his masochism/closeted identity a puree judged Extremely Problematic by most
finally got around to watching Hard Eight, the only PTA movie I hadn’t seen. it’s good, but doesn’t really feel essential! part of me feels like PTA is like, making a show of not over-writing this. like it’s really self-consciously subdued.
I saw that there 20th anniversary Dolby Fancy rerelease of The Matrix. the CG work in the movie has not stood the test of time (it turns out a lot of the dark lighting in the production design is a Jaws-esque gambit). the rest of the movie very much has and I’m glad I got to watch out a bigass screen very loudly with thumping bass for every single little rumble on the soundtrack and it helped me appreciate the writing and the cinematography, unlike the distant memory of seeing it new 20 years ago or the occasional rewatches on DVD
Prospect was ok. Its got a sufficient amount of weirdness to it. Reminds of videogames or some 80’s movies. Kinda feels like an episode of Firefly.
However, it could either be a fair bit shorter, full stop. or cut some stuff and then have an extra act after the final scenes. And either way, might communicate the point of the story a little better.
It otherwise has some hiccups and could be losing you, right about when it finally starts to tell you what the real story is here. Which is also brief. You could be spacing out and miss the point.
Ready or Not suuuuuuucked. really wanted to give it the benefit of the doubt, but it’s remarkably ugly, tepidly violent and full to the brim with obnoxiously sub-network sitcom humor and constant rob zombie level f-bombs. the blunt class commentary does little to redeem the rest. samara weaving is cool though.
