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  #30301  
Old 01-30-2017, 10:28 AM
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I watched Indiana Jones And The Last Crusade last night. It never occurred to me, up until this latest viewing, just how heavily John Williams was leaning on leitmotif for this one.
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  #30302  
Old 01-30-2017, 11:57 AM
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Originally Posted by Dracula View Post
Nightmare on Elm St. VI (Freddy's Dead): Opens with the line that Freddy has killed every child and teenager in Springwood, except one, who he possesses to go out into the world and bring him more victims. Introduces some pretty weird elements into the Freddy mythos - he's powered by "dream demons" or something - but also shows some background into Freddy's childhood, adolescence, and adult life when he was just a mortal dude killin' folks, which in hindsight seems odd that it took them six movies to do. Freddy's defeated when his daughter pulls him out into the real world and kills him For Real by impaling him on some dynamite. This one was absurd, all over the place, and I loved it. Also! It had Rosanne Barr, and a little parade of other celebrity cameos, for some reason.
I don't love this one. Freddy gets some real mission creep and has apparently killed every teen in town at this point? One of 5's charms, to me, is that the random friend survives. I always appreciate people unexpectedly dying/surviving in movies. I'm pretty fond of the 3-5 arc, actually.

Especially this


I'm still not sure I've ever seen Jason Goes to Hell.
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  #30303  
Old 01-30-2017, 12:02 PM
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Originally Posted by Büge View Post
I watched Indiana Jones And The Last Crusade last night. It never occurred to me, up until this latest viewing, just how heavily John Williams was leaning on leitmotif for this one.
I think it kind of leans into the move as a whole sort of feeling like that, though. They had one great idea (Henry Jones Sr.), they had one half-baked idea (the castle sequence), and then they stretched those concepts into a full movie.

(Yes, the secret of the Indy movies is that they're a movie so stuffed with ideas that they cut out enough material to make a second movie, that second movie, and then a third movie that was a script basically rescued from developmental hell only because Steven Spielberg's always wanted to make a Bond movie.)
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  #30304  
Old 01-30-2017, 12:29 PM
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I don't love this one. Freddy gets some real mission creep and has apparently killed every teen in town at this point? One of 5's charms, to me, is that the random friend survives. I always appreciate people unexpectedly dying/surviving in movies. I'm pretty fond of the 3-5 arc, actually.

Especially this


I'm still not sure I've ever seen Jason Goes to Hell.
Yup I don't disagree with you, it's pretty clear that the filmmakers were really not sure where to go after 5. Like the whole deal with Springwood now being populated by cartoonishly crazy adults, it feels almost like the entire film is in the dream world. But if the movie's bad (it is), it's memorably bad in the way that a lot of B- and C-grade 80s horror movies are (I'm aware it came out in 1991).

Incidentally, I think it's been stated somewhere (?) that the survivors from 5 did, at least, survive between films.

Oh yeah, and someone on this forum (you?) posted a link to that song in another thread last year and the song immediately went to my 2016 Halloween mix. I had totally forgotten about it up to that point.
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  #30305  
Old 01-30-2017, 10:14 PM
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Tonight, made it through Jason Goes to Hell (The Final Friday).

Me and Bride of Dracula agreed that it's the worst of the Jason movies we've seen so far.

In this film, Jason is an evil spirit who can jump from body to body. No reason is given for why he didn't do this earlier. Like Freddy's Dead, this movie also introduces some heretofore unmentioned family members who are key to defeating the baddie. There's more violence and prosthetic effects than any of the previous films. We couldn't bring ourselves to care about any of the main characters, some of whom aren't introduced until a good third of the way through. There's a pointless cameo by the Evil Dead Necronomicon. Jason is defeated when his niece stabs him with a magic knife. Freddy's hand shows up at the end because Newline Cinema.

It can be a good idea to stray from the formula, but this movie asks too much while stating too little. It seems to think it's a lot more intelligent than it really is.
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  #30306  
Old 01-31-2017, 07:11 AM
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Southpaw – I don't regret skipping this one when it hit theaters (unlike Creed). About the only thing that separates this from every other boxing movie is Jake Gyllenhaal's performance, which isn't too great either since the character is beneath his talents.

This was apparently a sequel of sorts of 8 Mile and a boxing metaphor for Eminem's life post-8 Mile. I kind of thought since Daniel Day-Lewis listened to Eminem to prepare for his role in Gangs of New York that he should've starred in this and they titled it My Left Hand.
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  #30307  
Old 01-31-2017, 11:45 AM
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Nightmare on Elm St. V (Dream Child)
Looks fun.
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  #30308  
Old 01-31-2017, 12:09 PM
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I kind of loved? The Lobster. Bone-dry pitch-black comedy. Highly recommend if you like that. I didn't get a lot of belly laughs or anything, but I was thoroughly entertained.

I saw Hidden Figures. It was good if not a bit predictable. In the vein of many historical movies, it didn't have much of a theme and felt a bit too neat to be particularly historically accurate, but it was really well made. The acting in particular was awesome. Also, Mahershala Ali is friggin' everywhere all of a sudden.
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  #30309  
Old 01-31-2017, 12:12 PM
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This is a beautiful and righteous thing that you have shared.
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  #30310  
Old 01-31-2017, 12:25 PM
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I kind of loved? The Lobster. Bone-dry pitch-black comedy. Highly recommend if you like that. I didn't get a lot of belly laughs or anything, but I was thoroughly entertained.
Did you figure out why those people were living in the woods?
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  #30311  
Old 01-31-2017, 12:47 PM
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They're single people that ran away from the hotel/society rather so that they don't get turned into an animal.
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  #30312  
Old 01-31-2017, 12:54 PM
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I don't really get how the society works, I guess.

Single people go to this hotel to find a match. If they succeed they get married and leave, if they don't they get turned into an animal. Some (apparently a lot) run away and live in the woods.

How do people go to the hotel in the first place? Is it compulsory? If so, what triggers your compulsory stay? The people there were of widely varying ages. This makes it seem like you go there if you're lonely enough for it to seem like a good option, but the whole people-living-in-the-woods thing and the idea of needing ID in the city makes it seem like the whole society functions around the hotel. The main character is there because his wife left him. Did he meet her at the hotel before? Why is she able to leave him for another man? How was there a single man for her to go to? If relationships can form naturally without the hotel, what compels people to leave society completely if they don't find a match? What happens to the people in the woods after the people in the hotel catch them? Why do they stay in the same area if they keep getting hunted by people in the hotel?

I had a lot of questions.
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  #30313  
Old 01-31-2017, 12:57 PM
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How is the leader of the people in the woods able to visit her parents? Do they not know she is somehow on the lam from the hotel? Why don't they know that?
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  #30314  
Old 01-31-2017, 01:17 PM
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These questions are not relevant or important to the movie.

It is a surreal work and more important are the themes within! I will say the 2nd half FULLY falls apart. But as a marriage survivor (ha) and dating in my late 30s, I found the observations of the first half to be grimly hilarious!
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  #30315  
Old 01-31-2017, 01:19 PM
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I mean, yeah, the exact logic of how the world works is not the point of the movie. I enjoyed what it was. I still had all those questions.
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  #30316  
Old 01-31-2017, 01:28 PM
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As far i understood it:

Quote:
How do people go to the hotel in the first place? Is it compulsory? If so, what triggers your compulsory stay?
Yes, it is compulsory. And what 'triggers' it is being single.

Quote:
The main character is there because his wife left him. Did he meet her at the hotel before? Why is she able to leave him for another man? How was there a single man for her to go to?
She left him for another married man.

Quote:
Why do they stay in the same area if they keep getting hunted by people in the hotel?
It might be because they don't have another good place to be (with food etc) nearby - if they try to go to a far away place, they risk being caught. But it also might be because they want revenge.

Quote:
How is the leader of the people in the woods able to visit her parents? Do they not know she is somehow on the lam from the hotel? Why don't they know that?
They're dumb parents!
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  #30317  
Old 01-31-2017, 01:38 PM
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People are obligated by the laws of society to find a partner by age X. Whatever their occupation, personal potential, or interests are, if they can't find a mate, they're rejected by society (ejected from it, really) and turned into something lesser, something upon which the laws of companionship do not apply. It doesn't really matter what they're turned into, just that they don't get to participate in society anymore (and the small mercy that they're not outright killed). At the same time, people are outright encouraged to hunt down singles and enact punishment upon them. Whether it is their choice, accident, or inability to match up, singles are actively punished for being single.

It's such an extreme situation that desperately lonely people are willing to commit the most outrageous lies not to be alone, not necessarily out of personal loneliness, but because society has told them solitude is wrong and punishable. Others, those who actively reject relationships, will still lie just to please the rules of society and escape its punishment. Others just kill themselves out of despair.

Some people come to this stage by mid-life. Others get there much younger. IIRC (it's been a while) same-sex and asexual people aren't even a consideration, only cishet ones are? The point is, these people are pushed by society to find a partner, and if they don't, that's it for them. They have no more value as a human being.

The settings of the hotel, the woods, and the city aren't really places, they're allegories. They're more states of mind. Either you follow the rules and exist in a place that caters to your needs, or you satisfy your needs yourself without anyone else's assistance (not even from like-minded people). The whole movie is an intensely cynical, furious look at how our society views the "obligation" of being in a relationship in order to be a fulfilled or even useful individual. Simply look at how many fussy parents pressure their children to marry; look at limited-time dating/matchmaking services; look at well-meaning friends who try to pair up their single buddies; look at how people who remain single are labeled spinsters, creepy uncles, crazy "cat ladies".

In the reality of The Lobster, single ladies are forcibly turned into cats.
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  #30318  
Old 01-31-2017, 01:44 PM
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Good post, Zef!

Quote:
The settings of the hotel, the woods, and the city aren't really places, they're allegories. They're more states of mind. Either you follow the rules and exist in a place that caters to your needs, or you satisfy your needs yourself without anyone else's assistance (not even from like-minded people). The whole movie is an intensely cynical, furious look at how our society views the "obligation" of being in a relationship in order to be a fulfilled or even useful individual.
This, yeah, but also our silly mental hiccups in regards to dating and how even people outside the norm still live by it and fuck each other (metaphorically).
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  #30319  
Old 01-31-2017, 02:15 PM
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A post that was easier to get through than the movie, which made me fall asleep. Twice.
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  #30320  
Old 01-31-2017, 02:54 PM
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A post that was easier to get through than the movie, which made me fall asleep. Twice.
The back half is terrible. Like it felt like 3 hours long.
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  #30321  
Old 01-31-2017, 03:16 PM
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X-Men holds up better than I was expecting. Due largely to the performances of Jean-Luc and Gandalf. Dudes brought their A-game.

What I didn't like nearly 20 years ago, and sticks out even moreso now, was the dismissive "Bah, aren't comic books silly" attitude it has about everything.

Sir Ian McKellan understood what was going on though, since he calls himself Magneto, rocks a silly helmet and cape and is going to detonate a Mutant Bomb out of the Statue of Liberty.
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  #30322  
Old 01-31-2017, 03:31 PM
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What I didn't like nearly 20 years ago, and sticks out even moreso now, was the dismissive "Bah, aren't comic books silly" attitude it has about everything.
A good video on the subject:



That aside, I also love that movie for most everything that it is.
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  #30323  
Old 01-31-2017, 04:02 PM
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The back half is terrible. Like it felt like 3 hours long.
I felt that the back half of The Lobster betrayed the thesis of the movie. As in, "It's evil and amoral of society to assign worth as a person depending on whether you're single or in a relationship! ...oh by the way the schlubby protagonist meets his perfect, pretty match*, and he's willing to go to extreme measures** to prove his love for her. Good for him!"

* With him being a lonely sad sack and her being energetic and willful, she's THIS close to being the Manic Pixie Dream Girl to perfectly match his ideal companion. THIS close.
** The final scene is a WHOOOOLE other can o' worms right there. If he didn't, then... what? Is the thesis that love is a lie, that we all pair up only out of despair for being alone and to have worth? If he did, then are we supposed to see him as heroic and devoted, which are values that we assign to him as a person for being in a relationship?.
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  #30324  
Old 01-31-2017, 04:06 PM
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Originally Posted by Paul le Fou View Post
I saw Hidden Figures. It was good if not a bit predictable. In the vein of many historical movies, it didn't have much of a theme and felt a bit too neat to be particularly historically accurate, but it was really well made. The acting in particular was awesome. Also, Mahershala Ali is friggin' everywhere all of a sudden.
If you didn't see my post earlier, the condensed word from historians is: just about everything the main cast did and accomplished is pretty damn accurate. All the non-John-Glenn white people, however, are made-up amalgamations, so their specific acts of prejudice and/or redemption never quite happened that way. The somewhat uncomfortably "white savior" bit of Costner knocking down the colored bathroom sign was fabricated; the MC actually ignored the bathroom segregation and people got over it. The climax with Glen requesting her to check the figures is dead accurate from transcripts, though.
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  #30325  
Old 01-31-2017, 04:13 PM
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Quote:
Originally Posted by Zef
The final scene is a WHOOOOLE other can o' worms right there. If he didn't, then... what? Is the thesis that love is a lie, that we all pair up only out of despair for being alone and to have worth? If he did, then are we supposed to see him as heroic and devoted, which are values that we assign to him as a person for being in a relationship?
My view when i saw it: yeah, he did it, and it's just continuing the critique of: why do we need to make sure our partner satisfies a list of things, why do we care that we have X and Y in common? Isn't it silly how far we can go for that? Shouldn't things be simpler - things in common are but one of the reasons we get attracted to each other, and not a prerequisite to fall in love.

It's also hilarious.

If my memory is right, the second part deals with how people in the fringe of society deals with their exclusion.
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  #30326  
Old 01-31-2017, 04:16 PM
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Actually, on reflection, my favourite part of X-Men is that, despite the good guys strict adherence to avoiding foolish like comic book characters, Cyclops decides the best way to remain incognito in a busy train station is to wear a hoody and his giant space goggles.
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  #30327  
Old 01-31-2017, 04:54 PM
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Off-topic, but I love that Felipe avatar, juca
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  #30328  
Old 01-31-2017, 05:22 PM
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I saw Dragon starring Donnie Yen. It starts out pretty great, with Yen playing a simple villager who luckily takes down a couple of bandits who are robbing the butcher's shop. An investigator shows up and concludes that it was the work of a martial arts master and sets about trying to prove that Yen is more than he seems. It is kind of like A History of Violence. It gets pretty crazy at points (like when Yen cuts off his own arm) but I don't think it quite sticks the landing. Still, there is lots to like here.
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  #30329  
Old 01-31-2017, 05:42 PM
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Off-topic, but I love that Felipe avatar, juca
Haha, i'm glad someone enjoys it!
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  #30330  
Old 01-31-2017, 05:54 PM
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Quote:
Originally Posted by Zef View Post
I felt that the back half of The Lobster betrayed the thesis of the movie. As in, "It's evil and amoral of society to assign worth as a person depending on whether you're single or in a relationship! ...oh by the way the schlubby protagonist meets his perfect, pretty match*, and he's willing to go to extreme measures** to prove his love for her. Good for him!"

* With him being a lonely sad sack and her being energetic and willful, she's THIS close to being the Manic Pixie Dream Girl to perfectly match his ideal companion. THIS close.
** The final scene is a WHOOOOLE other can o' worms right there. If he didn't, then... what? Is the thesis that love is a lie, that we all pair up only out of despair for being alone and to have worth? If he did, then are we supposed to see him as heroic and devoted, which are values that we assign to him as a person for being in a relationship?.
I agree with all of the above. Very frustrating!
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