Did anyone watch this movie? How was it?
Did anyone watch this movie? How was it?
Wooooo!!!
Royal Flash, hadn't seen it in ages. It can rightfully sit in the Hall of Fame next to The Princes Bride for being one of the best comedies ever made.
Silent Hill: Revelations, as a true fanboy I hate everything that was made after Silent Hill 3. Movie didn't upset me it's pretty good. It's never as unsettling as the games but some scenes do get that horrifying weirdnes right
Saw the new TMNT movie. Didn't see the first one. Wasted potential really. The first 5 minutes was basically Megan Fox doing a g rated strip tease. It only got dumber from there. I could go into more detail but I don't want to spoil this masterpiece for people who will want to see it.
I found the text at the end pretty silly.
"On august 15, 1945, China won the war against Japan...."
A few weeks ago I watched Ip Man 3, which also has a few of those silly nationalist messages. To be fair the films aren't filled with them, and are highly entertaining, but it still bugged me.
Didn't notice that one, yeah that qualifies
Extinction https://www.youtube.com/watch?v=gPE2GAEhi20 Pretty good for a free movie. It obviously didn't cost a lot to make but it's done pretty well regardless. Worth your time.
Last edited by Fragony; 07-28-2016 at 09:45.
https://www.youtube.com/watch?v=o_qyEoqzN64 < HIGHLY recommended and free. The moon is a creepy place
Starship Troopers, hilariously dumb movie that is kinda smart in it's own way.
https://www.youtube.com/watch?v=szW98bex7gA Cool free arthouse movie
Nothing like classics!
Ship of Fools
http://www.imdb.com/title/tt0059712/
Ja mata Tosa Inu-sama, Hore Tore, Adrian II, Sigurd, Fragony
Mouzafphaerre is known elsewhere as Urwendil/Urwendur/Kibilturg...
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Warrior
An amazing movie. I was glued to the screen the whole time with the amazing fight scenes. Its just really well done and I think its a must-see!
On the Path to the Streets of Gold: a Suebi AAR
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Hvil i fred HoreToreA man who casts no shadow has no soul.
Just saw the latest DaVinci code film. Stupid as usual, but the film became even more incoherent thanks to their low budget. They left fragments of what it was cut out in the montage, with the result of a bunch of actions and persons never being explained. Oh, Tom Hanks...
Might as well get this down about "La La Land". Saw it just before the New Year.
La La Land
Hollywood Los Angeles romance-drama musical in semi-throwback style. Exemplifies mediocrity.
Follows an overall trend of being less of a musical as it progresses, and with increasingly cringeworthy skits when they do pop up.
Scatters the individual characterizations after the first half to ram through by-the-numbers thematics, almost straitjacketed. Not sure if the flashes of humanity developed in the first hand reflect worse or better for being abandoned in the interest of pantomiming an 'arc'. What is all predictable isn't even done in an interesting or engaging way. In particular - and I'm not speaking of how they deal with the relationship in itself - the final sequence of the movie, the evaluation of the relationship between the leads, should just not have been shown at all. I was counting down the seconds at that point.
Emma Stone seems to follow the "Stages of Constipation" school of acting. Ryan Gosling...has a relatively interesting face. Generally, scenes with Gosling and without Stone were more enjoyable.
5/10
Vitiate Man.
History repeats the old conceits
The glib replies, the same defeats
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I didn't hate it, though. Just disappointed for giving it a chance on the basis of glowing aggregate scores. Les Miserables (the recent one), I like better for its panache and for accomplishing all it could, regardless of how much I dislike the Romantic tradition. If La La Land failed at anything in particular, then it would be by the conceit of giving 'an old story' 'a modern' 'twist'.
Last edited by Montmorency; 01-23-2017 at 09:42.
Vitiate Man.
History repeats the old conceits
The glib replies, the same defeats
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Hammer, anvil, forge and fire, chase away The Hoofed Liar. Roof and doorway, block and beam, chase The Trickster from our dreams.Vigilance is our shield, that protects us from our squalid past. Knowledge is our weapon, with which we carve a path to an enlightened future.
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"The only way that has ever been discovered to have a lot of people cooperate together voluntarily is through the free market. And that's why it's so essential to preserving individual freedom.” -- Milton Friedman
"The urge to save humanity is almost always a false front for the urge to rule." -- H. L. Mencken
Hammer, anvil, forge and fire, chase away The Hoofed Liar. Roof and doorway, block and beam, chase The Trickster from our dreams.Vigilance is our shield, that protects us from our squalid past. Knowledge is our weapon, with which we carve a path to an enlightened future.
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Baby Driver was a freaking amazing movie. A definite must-see I think. Plus its set in my hometown so it was great seeing some familiar locations!
On the Path to the Streets of Gold: a Suebi AAR
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Hvil i fred HoreToreA man who casts no shadow has no soul.
Dunkirk
(No spoilers...I think)
I was really looking forward to Dunkirk and I really wanted to like it. But from the first few minutes my spirits began to sink slowly. The technical parts were well done with lots of practical effects and very little CGI. It was beautiful to see the Spitefires in action and the Stukas were truly terrifying. The visuals and sound in the movie were outstanding. The cinematography was well done. However, there wasn't enough story to make it a great or even good movie in my mind. Nolan wanted minimal dialog and went out of his way to do so - often to the point some scenes felt awkward or down right stupid with the lack thereof. There were a few times I found myself mentally screaming at a character "Say something!! Please!"
The movie followed three stories told over three different time periods: the land story takes place over one week, the sea story over one day and the air over one hour. Interesting concept but awkward in actual practice when cutting back and forth between all three. The sea and air stories are fairly well done, but the land story is horrible. The "hero" of the land story (Harry Stiles) is far from admirable or likeable, and Kenneth Branagh's admiral does little more than stand at the end of a pier staring across the Channel at England, though he does occasionally provide a tidbit or two of information for the audience as to what is going on. How he gets his information while standing on the pier without any apparent staff or radio nearby is beyond me. The land story also does not show the British army doing anything other than standing in lines on the beach waiting for evacuation, but even the soldiers standing in line are better men than Stiles' character. The air story was good and the sea story the highlight. Mark Rylance plays a civilian who takes his boat out as part of the rescue fleet. He is by far the best character in the film and the only one in which Nolan sheds a bit of light as to his character make up.
One of the things I like about movies is the soundtrack. Hans Zimmer did the soundtrack, so it should be awesome, right? Perhaps the score is so brilliantly woven into the movie that it was inaudible to my ears most of the time. However, when the soundtrack made its presence known, it was a shrieking finger-nails-on-a-chalkboard sound that built in intensity as the suspense of the action increased. It was an assault on my ears that I desperately wanted to stop and undermined the scene. The soundtrack was a major disappointment.
I realize my review is not shared by many critics or movie-goers. Maybe the movie is too deep for my feeble brain to appreciate or too artsy-fartsy for my tastes. Ever since I saw Dunkirk, I've been playing it around in my head, hoping that something will click and it's brilliance will be revealed to me. Alas, that hasn't happened. Writing this review hasn't helped either, but rather solidified my thoughts that it was a big disappointment.
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Solid action film, but I have to agree with certain reviewers that it does not come up to the quality and joy of some of Edgar Wright's other films, and that the romance component as it was detracted from the film. You get a mild creeping disappointment as you move past the first half-hour, which was the most promising part.
I might see it on vaunted IMAX sometime, but I can't help rolling my eyes at hearing that Nolan is a picture-show elitist who doesn't seem to understand that the modality of the big-screen and the little-screen are not categorically different to the point that even in the age of powerful monitors and streaming capacity old-school inconveniences to the viewer should just be swallowed and 'appreciated' because it is teh troo art.
Last edited by Montmorency; 07-24-2017 at 05:07.
Vitiate Man.
History repeats the old conceits
The glib replies, the same defeats
Spoiler Alert, click show to read:
On the Path to the Streets of Gold: a Suebi AAR
Visited:
Hvil i fred HoreToreA man who casts no shadow has no soul.
Vitiate Man.
History repeats the old conceits
The glib replies, the same defeats
Spoiler Alert, click show to read:
On the Path to the Streets of Gold: a Suebi AAR
Visited:
Hvil i fred HoreToreA man who casts no shadow has no soul.
That's up to the creators of course, but we might have been better off for example cutting the waitress or reducing her to a bit character and giving the foster dad an arc. The interactions we saw between the two young people were the least engaging parts, and in the end she wasn't even developed as a character.
Vitiate Man.
History repeats the old conceits
The glib replies, the same defeats
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Eh, I liked all the scenes with the waitress, though I do agree that I wish there was more of the foster dad. I really liked him.
I also saw Dunkirk today, and I echo some of the sentiments that @Gregoshi mentioned. Had I not known that the various scenes took place at different times going into the movie, I would have been pretty confused. And like Gregoshi said, the land portions felt weaker compared to the other parts.
But beyond that, the movie nailed it on so many other aspects. The feeling of utter hopelessness and desperation was present throughout the movie. The cinematography was fantastic. The music was really excellent, and I was on the edge of my seat during the whole movie. Definitely glad I saw this movie, and seeing it in IMAX was very immersive as well.
Last edited by Hooahguy; 07-27-2017 at 22:22.
On the Path to the Streets of Gold: a Suebi AAR
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Hvil i fred HoreToreA man who casts no shadow has no soul.
A lot of mixed reactions, also in the press. Will have to see it for myself I guess, it doesn't sound like a waste of time
edit, now that I know who made it it's #1 on my must-watcb list. Not surprised if it has amazing music, Interstellar and Inception had amazing music as well and he always works with the same guy
Last edited by Fragony; 07-26-2017 at 05:57.
Er isr wier dar Really good. For some reason Hitler is suddenly back, he suddenly reappears in 2014 and is absolutily clueless. What starts out funny gets a lot darker though. Recommended
Last edited by Fragony; 07-28-2017 at 12:20.
On the Path to the Streets of Gold: a Suebi AAR
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Hvil i fred HoreToreA man who casts no shadow has no soul.
@Gregoshi
Here's an article I came across that may shed light on your feelings toward the score. The article isn't about Dunkirk, but it does take on "the new Hollywood sound" and how the pairing of Chris Nolan and Hans Zimmer have helped develop it.
As it's quite a long article, I'll convey the highlights:
The key event in the timeline is Inception and BRAAAM
The new sound of Inception, and many other action-y or super-serious blockbusters since, is a minimalist sound designed to break the old boundary that existed between movie score, and movie sound design. It is a dissonant, punctuated sound, typically assembled into several-note motifs that shun typical instrumentation and melody. The sounds used are often sampled, resampled, and modulated like in modern electronic, dance, trance, or house music, utilizing one or a few persons with a computer rather than an orchestra band as in the past.Film doesn’t usually ask us to be as good at listening as at looking. In fact, film sound tends to be at its most effective when it hovers at the very edge of our awareness. We are meant to register BRAAAM as new and different, but we aren’t well-equipped to say what, exactly, makes it different. Six years after its release, Inception invites us to think about our relationship to film music and how it has transformed over the last generation — from a moment when the average blockbuster soundtrack sounded like Richard Wagner, to a moment when the average blockbuster soundtrack sounds like, well, BRAAAM.
In the past then, as typified by the summer blockbuster and John Williams (my personal suggestion for a reference), movie music was dominated by neo-romantic/classical orchestral scores that looked back at 19th-century Europe and its aesthetics, but as noted modern movies of the past decade or less - that is, largely the same ones that would have in the past have exemplified the classical-romantic idiom - have started to experiment with mixed sound design and score, and in a self-referential or co-referential (especially of modern classical composers) way that leads to the same spare, brooding sound across movies. However, while the past era of music could stand alone from its accompanying film, the new music is heavily integrated into its own specific film, creating a unique yet unmemorable sound that doesn't transfer well out of the context of that one movie it permeates and its content and editing. The article describes the sound as "both massive and curiously thin".
So now we recognize the music as being "movie" music. Its "massive and curiously thin" sounds are designed to intertwine visual and aural in a nervewracking way, sounds and tempos that are meant to disturb and disorient the viewer, "freak you out".
Obviously not all movies have come to sound like this. The point is about those genres that have, particularly action movies, and how it directly replaces the old orchestral melodies. There's plenty of other information in the article, but if you like here's some of the critique of the new style toward the end of the piece:
Soundtrack minimalism is an aesthetic ostentatious in its restraint: see what we’re not doing, it says. Please notice what we don’t sound like. Much of modern prestige TV aims to sidestep all the hallmarks of now-maligned ’70s, ’80s, and ’90s television-making — episodic storytelling, lesson-learning, uplift, the reset button technique — and recognizably thematic soundtracks are among them. Unusual orchestration, like counterscore (the practice of pairing a massive set piece with a highly reduced sound, like a climactic battle using just a piano or a single voice), wants us to notice the distance from an established, perhaps even clichéd, filmic soundscape, even as that soundscape itself is making rarer and rarer appearances.
TLDR: It's all about BRAAAM
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Vitiate Man.
History repeats the old conceits
The glib replies, the same defeats
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