The Official Movie Thread
- Thread starter Manic Ferocity
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CiG
Harbinger of Metal
Btw, does anybody know if Burton's Catwoman was based on any comic book? With all the stitching and stuff?
TechnicalBarbarity
Poser Disposer
Vegard Pompey
ALLY TO GOOD, NIGHTMARE TO YOU
We just had first snowfall today so here's a seasonally appropriate question for all of you; what are the best movies you can name that take place in snowy locations and/or use snowfall for aesthetic effect?
Lady Snowblood and The Thing are the first two that come to mind for me.
Lady Snowblood and The Thing are the first two that come to mind for me.
no country for old wainds
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- Nov 23, 2002
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mccabe and mrs miller
romancing in thin air
stranger than paradise
my winnipeg
the gold rush
edward scissorhands
snowpiercer (duh)
a simple plan
roughly in order of preference
romancing in thin air
stranger than paradise
my winnipeg
the gold rush
edward scissorhands
snowpiercer (duh)
a simple plan
roughly in order of preference
CiG
Harbinger of Metal
Vegard Pompey
ALLY TO GOOD, NIGHTMARE TO YOU
CiG
Harbinger of Metal
no country for old wainds
Active Member
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i watched it today. some thoughts (i'm not spoiling any plot twists here but don't read if you want to go in totally blind):
- it's not a BLADE RUNNER movie, or at least not in the ways that made me love BLADE RUNNER, but it's a deliberate subversion and i think that's the best way of approaching these kinds of projects. i mean, if i want to watch something like the original i can just watch the original. i have a suspicion that this relates to the original BLADE RUNNER in a similar way to how the new twin peaks supposedly relates to the originals (despite not having seen that yet), and is best approached on its own terms rather than hoping it'll reinvoke the same feelings.
- forget about rainy melancholy and lived-in, gorgeously designed ground-level clutter - that's all gone. this is far more austere and oppressive, full of quiet, empty spaces. it's one of the most aggressively stylised blockbusters ever, immaculate to the point of feeling antiseptic (aside from the occasional, super horrifying glitches - i loved the glitches), full of striking images (it's very much a villeneuve movie, and roger deakins is at his legendary best) but short on humanity - which is both thematically coherent and emotionally alienating. roy batty is long dead, he'd be laughably out of place in this world, and i think that's the point, one worth musing on (probably moreso than musing on 'is he/she/it a replicant', a conversation i always found pretty exhausting - the movie agrees, mostly?).
- there's no real mystery or puzzle to this. it's more like an abstract thesis about the original film, very self-conscious and analytical (not a coincidence that there's a reference to nabokov's PALE FIRE), maybe too neatly expository ultimately. which is the opposite of the original, a movie so maddeningly, intoxicatingly open-ended it continues to be debated to this day.
- the literary progenitor this time isn't dick or orwell but kafka. there are references galore, starting with the name(s) of the main character.
- harrison ford stopped acting a long time ago. jared leto needs to stop being a thing. gosling should keep doing movies like this and DRIVE because he's made for them, and not much else.
- the score seems stuck between vangelis and zimmer, it was pretty cool but also felt a little lazy to me.
- many of the most interesting characters here are women, and yet they all seem like missed opportunities - especially luv, who starts out seeming complex and relevant to the point where her devolution into villainous archetype sort of baffled and distracted me, but i may have missed something there.
- it's not a BLADE RUNNER movie, or at least not in the ways that made me love BLADE RUNNER, but it's a deliberate subversion and i think that's the best way of approaching these kinds of projects. i mean, if i want to watch something like the original i can just watch the original. i have a suspicion that this relates to the original BLADE RUNNER in a similar way to how the new twin peaks supposedly relates to the originals (despite not having seen that yet), and is best approached on its own terms rather than hoping it'll reinvoke the same feelings.
- forget about rainy melancholy and lived-in, gorgeously designed ground-level clutter - that's all gone. this is far more austere and oppressive, full of quiet, empty spaces. it's one of the most aggressively stylised blockbusters ever, immaculate to the point of feeling antiseptic (aside from the occasional, super horrifying glitches - i loved the glitches), full of striking images (it's very much a villeneuve movie, and roger deakins is at his legendary best) but short on humanity - which is both thematically coherent and emotionally alienating. roy batty is long dead, he'd be laughably out of place in this world, and i think that's the point, one worth musing on (probably moreso than musing on 'is he/she/it a replicant', a conversation i always found pretty exhausting - the movie agrees, mostly?).
- there's no real mystery or puzzle to this. it's more like an abstract thesis about the original film, very self-conscious and analytical (not a coincidence that there's a reference to nabokov's PALE FIRE), maybe too neatly expository ultimately. which is the opposite of the original, a movie so maddeningly, intoxicatingly open-ended it continues to be debated to this day.
- the literary progenitor this time isn't dick or orwell but kafka. there are references galore, starting with the name(s) of the main character.
- harrison ford stopped acting a long time ago. jared leto needs to stop being a thing. gosling should keep doing movies like this and DRIVE because he's made for them, and not much else.
- the score seems stuck between vangelis and zimmer, it was pretty cool but also felt a little lazy to me.
- many of the most interesting characters here are women, and yet they all seem like missed opportunities - especially luv, who starts out seeming complex and relevant to the point where her devolution into villainous archetype sort of baffled and distracted me, but i may have missed something there.
CiG
Harbinger of Metal
I feel like this describes old sci-fi vs. new sci-fi in general.
no country for old wainds
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true, and that's inevitable really. the modern dystopia is one that revolves around the slow death of feeling, the assimilation of everything into data, the oppressive, incomprehensible abstractions of modern capitalism, media brainwashing and various other subtle and pervasive developments; stuff like 1984 and yeah, the original Blade Runner, feels very on-the-nose compared to our 'digital age' reality in many ways. i don't think modern day relevance or realism are necessarily related to timelessness though, and many films that are extremely dated or silly on the surface still resonate with emotional/existential truths in a way that these more ostentatious modern movies often don't manage. that's not to say there isn't plenty of quality stuff coming out in this decade - every era has its great movies.
Einherjar86
Active Member
This is totally true, and I love it. Gone are the days of the (dis)orderly dystopia. We're witnessing the golden age of the sterilized parasitic--the viral inhuman that infects the world to the point of becoming rational.
Haven't seen the new BR yet, but excited to see it.
no country for old wainds
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^i was gonna say in the above post that i think you'll like it. it's almost UNDER THE SKIN levels of alienating at times. plus you already like villeneuve, although i actually get more of an ENEMY vibe than ARRIVAL i think.
CiG
Harbinger of Metal
Yeah but a lot of irredeemable mediocrity comes with it like Transcendence, whereas even bad old sci-fi had some elements that made it worth watching. It's a trade-off I suppose, movies are much more hit or miss now with very little middle ground.
AllShallFall
Senior Member
CiG
Harbinger of Metal
EspaDa
Damage Case
