- Oct 25, 2017
IDK why but this series of posts back to back made me laugh
Humanity wasn’t ready for John Wicks set of skills
IDK why but this series of posts back to back made me laugh
Basically the screenwriter thought the original was dumb, so he added all the political stuff to make it (in his mind) more interesting. I like the movie, but the pacing drags a little, especially considering how lean the original is. I dig how the dance elements are way more fleshed out.
You need to see shit to enjoy good things.
Also, from a very basic level of horror, it also adds in a real sense of doom to the world in that no wake of life is safe. If not the witches in the school, it's the terrorist attacks on the outside, and very few have any input on the when and where of it all, which is what helps to power Suzy's character arc in the remake.
Oho Wright especially cranked it to eleven here. The opening flashback sequenceThe Worlds End - Bigger budget gloss of Shaun of the Dead, when ya get right down to it. Not quite as funny or exciting as that one, but thematically richer in its exploration of friendship, nostalgia, and alcoholism. Pegg and Frost give their career best performances here, and the cast is rounded out by a bunch of excellent British actors. Some key collaborators from Scott Pilgrim tag along, from editing and cinematography and music, so the level of filmmaking remains high. I think one of the most crucial crew members is Jared Allen, former Jackie Chan stunt team director. He stages several great set pieces that have that same Jackie Chan energy; underdogs chaotically fighting to escape with props flying around.
Wright doesn’t do anything by accident. His films are not spontaneous or naturalistic. Every scene, damn near every line is setting up a later joke or plot reveal. Even the names Peter and Paul is used for a joke. Hell, even the names of the bars our protagonists visit coordinate with an plot event(The Two Headed Dog where they fight the twins, or The Hole in the Wall where a car is driven through a wall). He definitely writes himself into a corner with the finale, and there’s a crazy ending I’m still not sure what to think.
I was on board with it when the Nazi’s were just a vague, nightmarish presence where their only physicality is the bodies they leave behind, the bullets they shoot, and the creepy omniscient spy plane that flys overhead. The kid wandering through this indeterminate hellscape where nothing quite makes sense or feels real was compelling to me.
This is a nice and reasonable answer.Plenty of film dorks even on here enjoy stuff like the MCU. Art house films have plenty of heavy handed stinkers and most, in fact, suck -- aka film school graduate project syndrome.
Everything's a matter of taste. Not everybody likes Citizen Kane. If you love the medium and have reasoning, then you will want to keep up with it, and it is an ongoing conversation of which you are a pivotal part.
It was one of my most anticipated movies last year and I was very disappointed with the end result. Largely, I think, because of how disastrously bad the climax is (and I'm not sure what to make of the epilogue either). At least I got a new Thom Yorke album out of it.
The first film I think is a pretty solid family movie that nevertheless treads on some pretty formulaic ground in places; Paddington 2 is a stone cold classic.
I haven't gotten in the disc of it yet, but the only special feature on Apollo 11 pertains to the 65mm footage, so my preemptive guess is that due to the historical significance of the Apollo 11 mission, NASA spared no expense in terms of archiving the entirety of the journey. It's kind of ludicrous how good that footage looks and makes me kinda wish that NASA would have a film preservation side-business with how immaculate their efforts turned out to be.
This sounds crazy, I watched For All Mankind on my laptop when it was the Criterion Movie of the Week, and even on the small screen the visuals blew me away. Apollo 11 must look insane.
Mostly agree with your thoughts here. Certainly not as funny as SOTD or Hot Fuzz but probably Wright's most honestly emotional movie up to this point. I would love to see Wright tackle some more serious dramatic elements eventually, but also that would waste one of the most inventive action directors. Curious to see how his next horror movie comes out.
Lmfao, these two posts are sensational. Just, what?
Have you seen Drive starring Mark Dacascos and Kadeem Hardison?Brotherhood of the Wolf
Brotherhood of the Wolf is a movie I've wanted to see for years and it largely did not disappoint. A bold blend of period melodrama, monster movie, martial arts action, and conspiracy thriller, Brotherhood mixes all those facets with a dash of pulpy tone and gothic fairy tale. It's weird, unique, and always intriguing, even if the effects are dated and the fight choreography is too over-edited to appreciate Mark Dacascos' agile skills.
Love this little scene from itIn a Lonely Place: A truly excellent merger of film noir and romantic melodrama. The psychological depth this displays is so typical of Nicholas Ray's work, and yet it still blows my mind to see such care put into the characters here with how easily this could have diverted into tropes, further enhanced by the great performances from both Bogie and Gloria Grahame turn in for their characters and a really well-rounded supporting cast. It's also a credit to how well written the picture is that you can guess at pretty much every major plot element well in advance and still be on pins and needles throughout since you can't really be too sure as to how it will ultimately resolve with how well maintained the tension is throughout and having just enough uncertainty to satisfy the thriller aspects without overwhelming the heart of the film. Absolutely superb in every facet, and now I can safely say that 1950 produced one hell of a trifecta of noir-tinged showbiz films with this joining such exalted company as Sunset Boulevard and All About Eve.