Yeah, I always forget the ending in the mountains is not part of the ‘definitive’ edition or whatever, because it is so good.
OK, I just found all of the endings on Youtube and now I remember why so many people hate the voice over. But i still think the original ending works really well visually. It would have been fine with the same footage and no voice over
The alternate ending scene from the final cut version is also kind of good IMO. I was never bothered by the revisionist deckard-is-definitely-a-replicant stance. It just doesn’t make any sense, but then again, what does?
I was going to post here about how I just finished the last 15 minutes of Berberian Sound Studio because I stopped last nights b/c the creepiness reached the same peak as the middle of Videodrome (just before he watches TV) and I lost my nerve and now I’m kind of disappointed at the lack of a horrible graphic realization of creep but still enjoyed BSS.
Or how can anyone talk about Bond without The Living Daylight, a glorious ode to 80s action? The opening scene is based on the Fleming short story of the same name, and the rest of the plot freely wanders off from Bond canon? Mind you, I’m a sucker for Joe Don Baker.
But how can anyone in a universe where Uncle Buck exists not consider it Hughes’ best?
On Your Mark?
Still weird to me that the Warcraft movie is made by Duncan Jones, but good on him I guess?
Everything he’s said in interviews points to him being a WoW-nerd, so at least someone who cares is making the movie. Now, if Sam Raimi was still directing it, that would be kinda weird.
Anyway, they need to make all of the epulauts and shoulder pads bigger. Much bigger. A proper WoW character is at least 30-40% shoulder armor.
Yup. David Bowie’s son. He is a WoW fan though, so yeah, but definite tonal shift from his other stuff.
Yeah, Source Code was pretty alright as well, so strange shift for him to be making, but I can’t blame a dude for taking a paycheck and a potential big franchise.
1 Like
I’m pretty sure that’s just Hollywood seeing the benefit of cultivating early and cheap talent for franchises instead of going for established and presumably expensive directors. It’s kind of mostly a good thing in either case.
Yeah, pretty much. I saw on his Wikipedia page that he is already working on a non-Warcraft movie as well, so I can see the value for a relatively young director in signing on to doing a big franchise, then using downtime between movies to make what he wants with the studio capital built up should the franchise succeed. And if it doesn’t, well, you got one decent paycheck and you go back to doing what you were doing. It’s pretty easy to handle either way.
Basically, young directors are learning from Soderbergh, which you could find worse models for in terms of career structuring.
Caught Hail, Caesar! in the middle of the day, thought it was hilarious thanks to all those film classes I took in college.
However, due to the same reason, the title card of Hobie’s film-within-the-film promotes that it was filmed in VistaVision which wasn’t around during the events of the film in real life (widescreen was only just beginning and VistaVision was a cost-saving reaction to CinemaScope) and it seems weird that they would goof that when they took the time to present all of the rest of the filmed footage in Academy ratio (which was fun to see).
What I’m trying to say is I’m going to die alone
2 Likes
Just finished watching Spotlight. Dunno if it’s truly The Best Picture Of The Year but it’s certainly a hell of a compelling watch. Now, some of that may have to do with the subject material, but it’s paced so briskly that it never feels like it labors on anything or that it’s 2 hours even (it actually felt shorter). I wish there was something on the aftermath instead of the blurb in list of dioceses, but it was still an effective way to end. Good film, would watch again.
I pre-ordered “The Look Of Silence” a while back after seeing “The Act Of Killing”, and I waited until the moment felt right to watch it - the moment finally arrived! These are two of the most Significant films of this decade. As political documentaries they are incredibly important. They are a human cry out of a great fog in which millions have been lost for 50 years. As films, they are miracles. The dramatic power is overwhelming. In “The Act Of Killing”, the camera is a tool for the subjects to become the directors of their own memories, in search of a truth which the camera will be used to directly confront in “The Look Of Silence”. My personality is having a bit of a clash between my desire to take it apart to understand it (and describe it) as story telling and my empathy for the human beings whose stories are being told and do not deserve to be analyzed like fiction. I’ll let empathy win for now, but the broken part of me will have the last word: these are two unique, insightful, gorgeous nightmares and they are both on Netflix right now!
Pee-Wee’s Big Holiday is a silly, stupid live-action cartoon of a movie and I enjoyed it greatly because it was a silly thing and made me laugh, generally in spite of itself.
I’m totally willing to admit that the bit where Pee-Wee is letting the air out of the balloon while he’s with the Amish is the hardest I’ve laughed in a good long while.
1 Like