It’s less a matter of Disney, and more just we need to make Weezer stop.
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Remember when they released that cover of Africa that sounded exactly like the original except just a little bit worse along every axis
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Oh no
I think Ford v Ferrari is my favorite studio movie this year
Considering last year I thought the same of First Man, I’m eager to watch it get dumpstered come awards season
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I do love that this is apparently like, The Andrew Yang base, it’s too perfect
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Come on. You have to admit the eighties were pretty epic
It’s very good at what it is, yes. I didn’t mean to undersell it above, if I did, but more suggest that yeah, you know if this is something you can care about before you even watch it.
honestly it was way more ogling at the process and way less race than I thought it was going to be and I have absolutely no complaints about this split whatsoever
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I am watching hustlers, which is at least a better period piece than joker
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seven samurai but it’s just the recruitment section and the takashi shimura character an abusive satan trying to goad the young kid character into becoming a killer/man
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zhang yimou’s hero (2002) was extremely good and also #dialectical
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now watch The Emperor and the Assassin
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actually it’s also a better Scorsese homage
what
can you expand on this
I watched it once like 15 years ago and all I picked up was that it was a bunch of reactionary pro-imperial jingoism
it’s not pro-imperial. before sparing the king’s life nameless says that “many people will die,” and the resolution is not a celebration of conquest, or of pacifism for that matter. the king is a historical actor and not a moral figure. the fight sequences are a series of negations - there are none where both parties want to fight, or they are intentionally thrown. any progression is a loss. the structure of the movie is the structure of the calligraphic sword character whose structure is narrated by the king - a series of negations or sublations that leads to absolute knowing in laying down the weapon. the english translation of tianxia as “our land” is completely wrong because absolute knowing is the realization of a world or universality, at the point where everything is lost. to be clear, it’s not an anti-imperial movie either, or leftist one, it just has a complex dialectical form which easily misreads as jingoism (and also risks naturalizing historical progress or valorizing nationalist quietism, like many interpretations of hegel also do lol).
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hero may or may not be pro imperial but its also an aesthetic masterpiece with a bunch of fucking amazing sword fights and doomed romance
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yeah also that
one more sleeps until the Irishman
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going to see irishman in a cinematheque like marty would want
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