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  #28651  
Old 06-04-2016, 09:31 PM
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Moneyball tries to tell a story about tech disruption and ends up being about what it's like to work for a violent sociopath 2 1/2 vigours out of five
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  #28652  
Old 06-05-2016, 12:39 AM
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Originally Posted by Andrew View Post
I saw House (the Japanese one) and I'm still sort of unpacking it mentally. It actually reminded me of a weirder, goofier Italian horror film.
The back of the Criterion blu-ray describes it as "An episode of Scooby-Doo as directed by Mario Bava"
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  #28653  
Old 06-05-2016, 05:17 AM
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House is, no joke, one of my favourite movies ever. It has a fantastic quality to it as though you were watching a "real" horror movie as interpreted by a child. Particularly how every major character is named after their one definitive character trait, and the way the movie's horror elements prey on irrational fears rather than more common phobias.

The director also did an adaptation of Kazuo Umezu's The Drifting Classroom that really has to be seen to be believed.



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Moneyball tries to tell a story about tech disruption and ends up being about what it's like to work for a violent sociopath 2 1/2 vigours out of five
Bobby Kotick?
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  #28654  
Old 06-05-2016, 07:29 AM
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Whoever bankrolled two hours of little kids dying brutally has brass balls. I'd always chalked up TDC as unfilmable
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  #28655  
Old 06-05-2016, 09:39 AM
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The back of the Criterion blu-ray describes it as "An episode of Scooby-Doo as directed by Mario Bava"
I did see that quote (Hulu has a bunch of Criterion movies on it, and this appears to be one of them, so I assume that's where the extras on it come from), but I was already thinking of the Italian horror connection anyway. I'd recently started to check out Italian horror, and a month ago I related watching City of the Living Dead to a friend as witnessing a nightmare. Beyond the regular supernatural things happening, basic physics do not apply. Whether it be zombies that teleport around seemingly at random in CotLD (which is less a "zombie movie" as "damned souls manifesting in their own rotting corpses to lash out at the living" or a possessed head biting a girl on the ass or a severed leg flying kicking something. Or how Suspiria is such a beautiful movie that, despite being a trash genre movie in all outward appearances, often appears as arty, obsessively framed and well-crafted as a Kubrick or Wes Anderson film. The kind of stuff that gore hounds who also have grown into film aficionados love.

Also, because I seem to always notice random connections in things I watch crop up, I got a kick out of the featured Toonami airing of Samurai Champloo last night being the weird zombie one that had caricatures of Romero, Savini, Fulci and Argento appear in it.

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Originally Posted by teg View Post
House is, no joke, one of my favourite movies ever. It has a fantastic quality to it as though you were watching a "real" horror movie as interpreted by a child. Particularly how every major character is named after their one definitive character trait, and the way the movie's horror elements prey on irrational fears rather than more common phobias.
It was intentionally that way, because the movie was made with major input from the director's daughter. So if it feels oddly personal, it's because it was.

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Originally Posted by teg View Post
The director also did an adaptation of Kazuo Umezu's The Drifting Classroom that really has to be seen to be believed.

Wait...is that actually shot in English or just dubbed over (with the often audio drift with online vids it's hard to be sure)? Sounds like one I'll have to definitely check out, yes.
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  #28656  
Old 06-05-2016, 11:20 AM
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It was intentionally that way, because the movie was made with major input from the director's daughter. So if it feels oddly personal, it's because it was.
I'm well aware.

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Wait...is that actually shot in English or just dubbed over (with the often audio drift with online vids it's hard to be sure)? Sounds like one I'll have to definitely check out, yes.
Shot in English, with a bunch of really bad bilingual child actors. The teacher is played by Troy Donahue.
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  #28657  
Old 06-05-2016, 11:35 AM
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My town finally has an arthouse theater, and for the grand opening last night, they played Ben Wheatley's High Rise, about... well, a high rise. That descends into class warfare and anarchy after the power goes out. It was strange and terrifying and compelling, though I thought the Margaret Thatcher quote at the very end was a little too on-the-nose.

It left me interested in the original J.G. Ballard novel, which I'm hoping would shed more light on Tom Hiddleston's character. It sets him up as having some shades of darkness--he's weirdly detached from much of the suffering around him, and he indirectly causes a guy's suicide--but the movie doesn't really explore him very much beyond that after the middle or so.
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  #28658  
Old 06-05-2016, 01:12 PM
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Originally Posted by Ample Vigour View Post
Moneyball tries to tell a story about tech disruption and ends up being about what it's like to work for a violent sociopath 2 1/2 vigours out of five
I enjoyed Moneyball, but was kind of annoyed in how it represents sabermetrics.
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  #28659  
Old 06-05-2016, 02:36 PM
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I enjoyed Moneyball, but was kind of annoyed in how it represents sabermetrics.
Elaborate for me? I'm ignit. Ignorant.
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  #28660  
Old 06-05-2016, 03:26 PM
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The movie spends a lot of time talking about how players aren't worth big contracts. And it's true that the reason the "moneyball" strategy worked for the As at the time was that there weren't certain skills (on-base percentage is the one that gets the most focus) that the market was under-paying for and other skills that were being overpriced. The As managed to recognize that and thus got players for cheaper than they probably should.

But the movie, by necessecity, glosses over the nuance and so the message kind of comes out as "the players you don't notice are more valuable than the huge stars". But that's not what sabermetrics is about - it's about trying to accurately evaluate the value of players. Sometimes the results show that some unknown guy is worth more than everybody gave him credit for; sometimes, it reveals that Barry Bonds and Babe Ruth really are the best baseball players ever.
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  #28661  
Old 06-05-2016, 03:37 PM
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I am skipping around The Drifting Classroom on youtube and everything I'm looking at is as promising as that trailer. I guess it really must be seen... and so... I must see it.
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  #28662  
Old 06-07-2016, 11:48 AM
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I'm going to see a movie tomorrow! At the pitchers! It's called The Nice Guys and I'm going in totally blind! Someone told me it was Shane Black so I just agreed to go on that basis. Know nothing else, hope it's a good.
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  #28663  
Old 06-07-2016, 12:33 PM
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Quote:
Originally Posted by Karzac View Post
The movie spends a lot of time talking about how players aren't worth big contracts. And it's true that the reason the "moneyball" strategy worked for the As at the time was that there weren't certain skills (on-base percentage is the one that gets the most focus) that the market was under-paying for and other skills that were being overpriced. The As managed to recognize that and thus got players for cheaper than they probably should.
Never mind more complex stuff like the story of their pitching (not even drafting Hudson, stumbling into Zito after he'd been drafter three times previously, etc.)

The problem is that the narrative of the movie (HEY LOOK THE 2002 As ARE GREAT!) conflicts with the story of the book, because the core of the 2002 As team weren't products of the Moneyball approach, at least in terms of their drafting. The book is more future-looking. And Sandy Alderson obviously doesn't come into the movie. And it's not like Beane just cottoned onto the system in 2002... the 2001 As were fucking great, as well.

Of course, the best bit in the book was the rent-a-player / dump for compensatory picks strategy, which is what the Jays used to rebuild their prospect system and was a fucking brilliant manipulation of baseball's rules.
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  #28664  
Old 06-07-2016, 12:33 PM
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Originally Posted by madhair60 View Post
I'm going to see a movie tomorrow! At the pitchers! It's called The Nice Guys and I'm going in totally blind! Someone told me it was Shane Black so I just agreed to go on that basis. Know nothing else, hope it's a good.
I think you'll enjoy it. I'm sort of seesawing about seeing it again just to soak up all the wordplay and symbolism (it's quite deep, I think) because this summer has an unusually large amount of movies I want to see.
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  #28665  
Old 06-07-2016, 12:59 PM
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Originally Posted by Sven View Post
Never mind more complex stuff like the story of their pitching (not even drafting Hudson, stumbling into Zito after he'd been drafter three times previously, etc.)

The problem is that the narrative of the movie (HEY LOOK THE 2002 As ARE GREAT!) conflicts with the story of the book, because the core of the 2002 As team weren't products of the Moneyball approach, at least in terms of their drafting. The book is more future-looking. And Sandy Alderson obviously doesn't come into the movie. And it's not like Beane just cottoned onto the system in 2002... the 2001 As were fucking great, as well.

Of course, the best bit in the book was the rent-a-player / dump for compensatory picks strategy, which is what the Jays used to rebuild their prospect system and was a fucking brilliant manipulation of baseball's rules.
Yeah, the problem is that the movie doesn't address that the biggest reason for the early 00s Athletics' success was that they drafted Barry Zito, Tim Hudson, Mark Mulder, Jason Giambi, and Eric Chavez, and got Miguel Tejada as an international FA. The concept of finding as much value as you can with a lower payroll by exploiting skills that are not as well understood is a good one, but that's not how you get a 100 win powerhouse. Many teams have stumbled into a great several-year run of good prospects turning out well, but it doesn't always work. You can't pick right every time.
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  #28666  
Old 06-07-2016, 08:30 PM
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I saw Batman V Superman.

Not great.
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  #28667  
Old 06-07-2016, 09:30 PM
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Quote:
Originally Posted by Alex Scott View Post
My town finally has an arthouse theater, and for the grand opening last night, they played Ben Wheatley's High Rise, about... well, a high rise. That descends into class warfare and anarchy after the power goes out. It was strange and terrifying and compelling, though I thought the Margaret Thatcher quote at the very end was a little too on-the-nose.

It left me interested in the original J.G. Ballard novel, which I'm hoping would shed more light on Tom Hiddleston's character. It sets him up as having some shades of darkness--he's weirdly detached from much of the suffering around him, and he indirectly causes a guy's suicide--but the movie doesn't really explore him very much beyond that after the middle or so.
The character isn't really that well established in the novel, either. He exhibits some Freudian sexual neuroses by the end, but they're not so much to suggest "character" as a symptomatic stand-in for what goes on in the tower.

The book, however, does have one of literature's greatest opening lines: Later, as he sat on his balcony eating the dog, Dr. Robert Laing reflected on the unusual events that had taken place within this huge apartment building during the previous three months.
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  #28668  
Old 06-07-2016, 09:32 PM
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Yesterday I watched His Girl Friday, which was shockingly fun. I wasn't expecting such fast paced dialogue. That stuff was rapid fire.

Then today I saw 3:10 to Yuma (2007), which I want to call fun even if that doesn't quite seem right. Russell Crowe at least seemed to be enjoying himself. I really enjoyed it, but I am a sucker for Westerns.
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  #28669  
Old 06-07-2016, 09:42 PM
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So I watched Risen on account of it having one of the single best hooks I've seen in movies for years: a Roman Military Tribune is tasked with investigating the disappearance of Jesus's body from his tomb following the crucifixion. It turns out that's really only the plot of the movie for the first two thirds. Once Clavius stumbles upon the resurrected Christ and the Disciples during the Roman's attempt to apprehend Jesus's followers, the movie turns into a much more traditional Christian narrative, as the main character follows the Disciples to Galilee, to ultimately witness the Ascension.

It's definitely a faith-based movie, albeit significantly less treacly or ugly than a lot of movies to carry that distinction recently. And I would hardly characterize it as great. The cinematography isn't astounding, and a few of the performances are awfully broad. Sometimes for the better, though. Clavius's attempt to intimidate an ecstatic Bartholomew, for instance - including another description of just how horrific crucifixion is - is particularly effective.

I found it somehow affecting, though, even as deeply-lapsed Christian. There's an earnestness to it, and the first two thirds are a pretty solid period procedural. And I suspect it'll be examined in years to come against the ugliness of things like The Passion of the Christ and the chain-letter sentimentality of God is Not Dead.


The best scene, though, is when Clavius walks into the Roman barracks and asks which of the legionaries would be able to identify Mary Magdalene, and they all raise their hands.
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  #28670  
Old 06-08-2016, 05:56 AM
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The best scene, though, is when Clavius walks into the Roman barracks and asks which of the legionaries would be able to identify Mary Magdalene, and they all raise their hands.
I'd heard about that gag and it struck me as almost incomprehensibly clever for that type of movie.

Like, that'd be the best joke on most SNLs these days.

(I know, not saying much....)
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  #28671  
Old 06-08-2016, 07:58 AM
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Originally Posted by Rascally Badger View Post
Yesterday I watched His Girl Friday, which was shockingly fun. I wasn't expecting such fast paced dialogue. That stuff was rapid fire.
Damn good movie. Check out the Thin Man series for more dazzling urbanites talking a mile a minute
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  #28672  
Old 06-09-2016, 09:58 AM
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I tried to watch Lost in Translation back in the day and ended up bailing partway through. I don't know if I just wasn't in the right mood, or was expecting it to be something it wasn't, or what, but I couldn't appreciate it at the time. Last night I gave it another shot and this time found it tremendously effective. It's a movie that does a lot with very little, in terms of establishing mood and character. Throughout the movie I was slightly worried that they were going to end up sleeping together and was relieved that Coppola understood that that's not the point here. In my younger days I think I might have been frustrated with not hearing what Bob said to Charlotte at the end, but it's really a brilliant moment that fits in perfectly with the movie's themes.

Join me next time on Startling Revelations, where I will discover that The Beatles were a pretty good musical act
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  #28673  
Old 06-09-2016, 10:05 AM
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S.W.A.T. tries really hard to nail the vibe of Heat but it sucks too hard. Also, why is Jeremy Renner in anything? He's fucking terrible.
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  #28674  
Old 06-09-2016, 10:48 AM
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This was back before Renner was Renner and Colin Fookin' Farrell was a Hollywood It Boy (or bad boy). Now Renner is a star in a superhero franchise juggernaut and Farrell stars in all these Weird Movies and Shows.
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  #28675  
Old 06-09-2016, 10:59 AM
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SWAT was a first-rate TV movie-of-the-week kinda deal.
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  #28676  
Old 06-09-2016, 11:03 AM
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S.W.A.T. tries really hard to nail the vibe of Heat but it sucks too hard. Also, why is Jeremy Renner in anything? He's fucking terrible.
Some actors will keep getting pushed by Hollywood until they break through via sheer force of will. CBS kept putting Alex O'Loughlin in stuff for years in spite of any evidence he had any talent, and eventually Hawaii 5-0 sorta made it.
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  #28677  
Old 06-09-2016, 11:21 AM
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S.W.A.T. tries really hard to nail the vibe of Heat but it sucks too hard. Also, why is Jeremy Renner in anything? He's fucking terrible.
He was fantastic in Louie.
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  #28678  
Old 06-09-2016, 11:24 AM
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He was also great in DAHMER.

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  #28679  
Old 06-09-2016, 11:42 AM
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I think he's a pretty good Hawkeye.
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  #28680  
Old 06-09-2016, 02:07 PM
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Renner was incredible in The Hurt Locker. Like, a star-making performance. I don't think he's been quite as good in anything since.
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