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  #31801  
Old 10-10-2017, 08:30 AM
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watched Wind River, which was an acceptable crime picture elevated by a cool setting (Wyoming Indian reservation in the wintertime). Jeremy Renner plays a Fish and Wildlife Service hunter, so when it comes time to shoot the bad guys he's not doing it with a Glock or something boring like that, it's a bigass lever-action rifle in .45-70 Government.
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  #31802  
Old 10-10-2017, 08:50 AM
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Taylor Sheridan seems to have a thing for guys getting shot outside.
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  #31803  
Old 10-11-2017, 11:12 AM
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Blade Runner 2049: I am so very glad this was a great movie. The original movie and the source material are some of my favorite sci-fi of all time and hearing that a sequel was coming made me scoff incredibly hard. But within minutes of the movie's start, I was in: it cleverly distinguishes itself right away by making K a Replicant Blade Runner who can physically take on his targets, unlike Decard. Times change when your slaves will listen to you.

Once Joi came into the mix though I knew this movie wasn't interested in retreading the same ground as the original. What is the purpose of an AI being used by a Replicant for companionship? Holy post-modernism, Batman! The ending coda where both K's Joi and Wallace's Joi are the same...Joi, and K's Joi wanting him to take the name "Joe"...that's some real good shit but I don't know what it means yet.

And then there were the set pieces! I had a stupid grin the entire time Deckard and K were having it out in the lounge at the abandoned hotel. The simulated performances of Marilyn Monroe and Elvis -- important that it was these 2 performers who so often inspire impersonators (I'm drowning in post-modernism here (oh shit, drowning like the end of the movie??)) -- cutting in and out with and without sound was so extremely my shit, it reminded me of the best of GitS and Cowboy Bebop put together.

Another set piece -- the baseline assessments for K. That was so incredibly well done and it was a fantastic contrast to the original's Voight-Kampf. That one took time and was based on emotions, but here we just have a set of hyper-fast scripted call-and-responses and it's loud and jarring the whole time.

The ending climax too was fantastic. I don't know if there's anything deeper to the violent act of choking someone to death, but it is a very powerful image. It almost felt like this movie was trying to one-up "tears in the rain" though by having the main cast literally drowning in water, but then we get to the snow part where K dies and it plays the motif for Roy, so I felt better about the movie's understanding of itself.


I don't think it's as imminently rewatchable as the original for me, mostly because of its length but also that it relies a bit too much on a "mystery" style plot, but I'm definitely going to see at least one more time in my life. There's enough symbolism going to warrant deeper viewings, and that's ultimately all I ever wanted from a Blade Runner sequel. I could keep talking but I'll stop for now. I loved it.

Quote:
Originally Posted by Bongo Bill View Post
So I got a question about Blade Runner 2: The Blade Runs Again. What is the significance of the decision to use "Peter and the Wolf"?
I was trying to figure this out too, but I got nothing. Maybe it's just more animal symbolism?
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  #31804  
Old 10-11-2017, 11:38 AM
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Quote:
Originally Posted by YangusKhan View Post
I was trying to figure this out too, but I got nothing. Maybe it's just more animal symbolism?
I think I got a lead after all.
Per Wikipedia's article for Peter and the Wolf, Peter is a Young Pioneer. There was already a bunch of Russian imagery in the movie, and it was implied that the Soviet Union still exists in that future, so that combined with Peter and the Wolf being a Russian composition and the story of the movie being about slaves seizing a higher place in society...that's the connection. But it is curious: I was under the impression that K's ringtone was mandated by Wallace and it was just a thing Wallace-corp used for branding, which seems at odds with my particular reading. But it could also be a statement about Wallace himself, not sure. The strings represent Peter in the story, so the allegory could either be K = Peter or Wallace = Peter. I feel like K is the real aim here.
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  #31805  
Old 10-11-2017, 10:36 PM
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Quote:
Originally Posted by YangusKhan View Post
Blade Runner 2049:
K's Joi wanting him to take the name "Joe"...
She calls him special all the time and basically pushes him into believing it. She names him when they think he's the actual child in K's case. Their whole dynamic is based on his desire to be special and her encouragement about it. In the end, he's told everything he believed about the child (and being a "real" person) is the natural yearning of a replicant, and soon realises everything Joi had told him (including his new name) was part of her programming.

He was never a real person and whatever he had with Joi was not, either. It's just what he wanted to hear (as literally advertised). He was, as Luv put it, a satisfied customer. He's not Joe, just a joe. He's only free to be truly human after losing Joi and his awkward attachment to her.
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  #31806  
Old 10-12-2017, 08:04 AM
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Blade Runner 2049 soundtrack/score: I stayed all the way through the credits just to feel that industrial bass droning wash through me a little longer. I bought the MP3 soundtrack immediately, and hope someone picks it up for a vinyl release.
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  #31807  
Old 10-12-2017, 08:11 AM
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I watched Stargate (1994).

Enjoyed the sets, cinematography, costumes, score, effects - all to be expected of a well-budgeted sci-fi movie of its vintage. Not much to say about the plot, I think.

I'm guessing the TV series did a better job expanding on that?
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  #31808  
Old 10-12-2017, 08:12 AM
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Blade Runner:
Q: Is Deckard a replicant or human?
A: Yes.


Blade Runner 2049
Q: Were Joi's feelings for K real or programmed?
A: Yes.
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  #31809  
Old 10-12-2017, 03:21 PM
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Pretty good examination of Blade Runner 2049's gender politics: Why Do We Keep Putting Gigantic Naked Women In Sci-Fi?
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  #31810  
Old 10-13-2017, 12:49 PM
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Quote:
Originally Posted by juanfrugalj View Post
In the end, he's told everything he believed about the child (and being a "real" person) is the natural yearning of a replicant, and soon realises everything Joi had told him (including his new name) was part of her programming.

He was never a real person and whatever he had with Joi was not, either. It's just what he wanted to hear (as literally advertised). He was, as Luv put it, a satisfied customer. He's not Joe, just a joe. He's only free to be truly human after losing Joi and his awkward attachment to her.
But wasn't he a little bit special since he apparently got the dog-memory implanted into him, to act as some kind of decoy? Or is the implication that all the replicants had that dog-memory implanted? I didn't quite understand that part.
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  #31811  
Old 10-13-2017, 09:40 PM
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oh wow, who would have ever guessed a lars von trier movie about slavery would be awful

(everyone)
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  #31812  
Old 10-14-2017, 07:38 AM
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Quote:
Originally Posted by Fredde View Post
But wasn't he a little bit special since he apparently got the dog-memory implanted into him, to act as some kind of decoy? Or is the implication that all the replicants had that dog-memory implanted? I didn't quite understand that part.
You know, I thought that as well. But then the insurrection leader says that was just another piece of the puzzle. Someone implanted that memory in him deliberately, but K never learns who or why.* In that way, he's a tool, a cog in someone else's plan. The exact thing meant for him to feel human (and to mislead the audience) is just another form of control.

Fucking devious, I love it.



*An obvious sequel hook, which sadly won't pan out.
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  #31813  
Old 10-14-2017, 05:32 PM
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The Brosnan character elevated The Foreigner above the usual Taken fare - there were still the unambiguously super evil types in the terrorists, but Brosnan provided a more human if still murky antagonist.
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  #31814  
Old 10-14-2017, 06:23 PM
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Quote:
Originally Posted by YangusKhan View Post
Pretty good examination of Blade Runner 2049's gender politics: Why Do We Keep Putting Gigantic Naked Women In Sci-Fi?
What's wrong with big women?
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  #31815  
Old 10-14-2017, 06:27 PM
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Quote:
Originally Posted by Balrog View Post
What's wrong with big women?
According to Queen - nothing.
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  #31816  
Old 10-14-2017, 06:51 PM
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Happy Death Day is generally fun, but it probably would have been better if the killer hadn't been bleedingly obvious from the very first trailer
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  #31817  
Old 10-14-2017, 08:25 PM
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Blade Runner 2049: "Hey, remember how all those Japanese games and anime stole your entire cyberpunk aesthetic?"

Blade Runner: "...yeah."

BR2049: "Let's show then how this fucking shit is done."
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  #31818  
Old 10-15-2017, 07:18 AM
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Quote:
Originally Posted by Balrog View Post
What's wrong with big women?
Nothing, there was just a lot of them in the movie. I really liked the parallels she made there between 2049 and Spielberg's A.I., but I have a somewhat irrational love for that movie.
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  #31819  
Old 10-16-2017, 08:59 AM
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Saw Blade Runner 2049 over the weekend. I liked it! I liked it a lot!

Regarding K's ringtone: I think the Russian reading of Peter and the Wolf's presence is more complex than what is actually happening here. I think BR is taking Peter and the Wolf more literally: Peter and the Wolf starts with this...

This is the story of Peter and the wolf.

Each character in the tale is going to be represented by a
different instrument of the orchestra. For instance, the bird will
be played by the flute. (Like this.) Here's the duck, played by
the oboe. The cat by the clarinet. The bassoon will represent
grandfather. The wolf by the French horns. And Peter by the
strings. The blast of the hunters' shotguns played by the kettle
drums.


This is what strikes me as the important part. There is no reason for a human to hear a flute and think "bird", or hear an oboe and immediately assume "that's a duck." Listening to Peter and the Wolf, you are being told that x equals y, even though there is absolutely no reason x would ever be y. Thus, it comes off as a "joke" compliments of Wallace Corp. (or Wallace himself), that you, the customer/mark, are being told this fake hologram is a person with real emotions in the same way a child can be told that a french horn is really a wolf. It's fake, it's imaginary, but you are being told it is real, because the story doesn't work if you don't listen and obey the rules. And, thus, Peter and the Wolf being Joi's "ringtone" creates a sort of Pavlovian response for the people of this universe, here is the noise that tells you you are about to talk to a 'human'.

I could probably write a damn book on how much I enjoy Joi and her... ramifications in this movie, but that's my take on the Peter and the Wolf thing.
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  #31820  
Old 10-16-2017, 12:44 PM
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Saw Kong: Skull Island on an airplane and it was pretty enjoyable. I like this modern monster movie trend of not waiting around very long before bringing out the cool creatures. And the callbacks to older KK iterations (Kong in chains, Kong grabbing the female lead) but in completely different contexts were fun. I also liked that Kong's final triumph over the last antagonist was achieved by using tools. It's honestly reasonably believable that he has something near the intelligence of a real lowland gorilla; those suckers are smart.

I don't know how well the movie did in release, so no idea if we'll get to see all those other Tohos teased in the stinger.

(Insta-edit: okay fine, I looked it up, and I guess they're all gonna be crammed in the 2019 Godzilla that's currently in production? Huh, okay.)
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  #31821  
Old 10-16-2017, 01:00 PM
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It probably does not come as a shock that I happily shouted “OH MY GOOOOOOOD” when I saw that stinger.

That seems like the sort of reaction you’d expect from one such as I.
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  #31822  
Old 10-16-2017, 01:05 PM
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I already needed to see Skull Island, but now I guess I Super need to see it.
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  #31823  
Old 10-16-2017, 01:42 PM
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One thing I've liked about both the new Godzilla and King King movies was how both the title monsters fought with personality. Godzilla fought like a bully, he was bigger and he was going to push the other monsters around because they can't stop him. Kong in Skull Island fights like a wrestler, the kind that is constantly pulling out folding chairs.
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  #31824  
Old 10-16-2017, 03:50 PM
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he say you sequel to brade runnah

Both sides of the conflict that ultimately emerges in the film want the same thing, they just have opposite interpretations of what it means. The rebels think that once replicants discover the ability to reproduce, they'll rise to their full potential as sentient beings. Wallace thinks it will just make them a more easily exploitable resource.

I think it's important that on the main occasion we see natural-born human children, they're treated like replicants, as cheap labor and as a commodity. Dunno if it's a reach but I sorta see a reflection of the conflict between Roy and Deckard in the first movie: the machine who struggles with all of his might to become a man and the man who's idly let himself fall to the level of a machine.

I would have liked it even better if the movie hadn't said a word about whether Deckard is a replicant, but pointedly allowing us to read the issue either way is an okay second best.

Agreed with Bongo that an intermission would have been a kindness.
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  #31825  
Old 10-16-2017, 05:55 PM
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Quote:
Originally Posted by Rascally Badger View Post
Godzilla fought like a bully, he was bigger and he was going to push the other monsters around because they can't stop him.
I vaguely remember someone from the production team saying that they styled that Godzilla's fighting style on the way bears attack/fight.
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  #31826  
Old 10-17-2017, 01:07 PM
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I don't normally watch horror movies, but a while back I decided to lit on Hellraiser. I guess it's common for established franchises to veer somewhat from the original film, since the original didn't have to follow the guidelines of the established franchise. However, I was going into this movie with the expectation of people racing against the clock to solve alien rubiks cubes under penalty of death. Also Pinhead.

Cue my surprise when I find out Pinhead's only in this movie for like five minutes. He's also more of a cameo than an actual driving force in the movie. Also, the movie isn't about solving puzzles at all, it's about a guy who cuckolds his brother from beyond the grave. In addition, he's a criminal who's on the lam from the hell police, aka Pinhead and his crew. They're almost entirely non-threatening. All they do is hang around and chat. They do look weird though.

I was probably more nonplussed than horrified.
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  #31827  
Old 10-17-2017, 01:13 PM
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I mean, horrible generalization and all, but don't most '80s horror things have a pretty unique hook/story combo that then gets sequeled into oblivion because A) the studio spent a bunch of money on props/etc, dammit, and B) Snazzy SFX gets butts in the seat all day long?
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  #31828  
Old 10-17-2017, 08:40 PM
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Hellraiser is almost sedate, even by contemporary terms. Most of the flick is people chatting in various stages of decomposition/filetting followed by The Invasion of the BDSM Mutants. If it weren’t for the oceans of gore it would fit perfectly with any number of post Dinner With Andre character pieces.

E: I understand that the novella it’s based on is much more complex
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  #31829  
Old 10-17-2017, 09:12 PM
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Pinhead has a lot of sights to show you, they're just in the later movies.
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  #31830  
Old 10-18-2017, 07:50 AM
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Quote:
Originally Posted by Ample Vigour View Post
E: I understand that the novella it’s based on is much more complex
Not really? The character relationships are slightly different, but the events unfolding in the movie are pretty much the same as what goes on in The Hellbound Heart.

Barker did eventually write other stories around Pinhead, though, culminating in Scarlet Gospels, which is a giant fucking grand guignol epic fiasco.
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