Topic: Movie thread.

Posts 1,481 to 1,500 of 1,642


MsJubilee wrote:

Also didn't like that they made Hulk into some dumb brute that can't talk can't think can't do a damn thing but just smash.

You clearly haven't seen Thor: Ragnarok.


My Nintendo: Shantephan | Twitter:


@Shantephan Fire i like fire. Raging fire.No friend! Don't leave! No! Oh yes Bruce banner should be proud.

I've died. There is no more me

It is the heavens that have defeated you. This is their will.

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@MsJubilee Due to not owning the rights to make a stand alone Hulk film, Disney are making a stealth Hulk film in the next 3 Marvel films. Fingers crossed for you Hulk becomes Mr Grey

I never drive faster than I can see. Besides, it's all in the reflexes.

Switch FC: SW-0287-5760-4611


The Avengers Infinity War trailer is dropping today. Anyone else excited for it?



@Shantephan In regards to Coco, Not really as it kinda looks like a rip off of "Book of the Dead"


Switch Friend Code: SW-5538-4050-1819 | 3DS Friend Code: 1633-4650-1215 | My Nintendo: Bunkerneath | Nintendo Network ID: Bunkerneat


Here is the Avengers Infinity War trailer, and it's awesome!

@Bunkerneath Coco may look a lot like Book of the Dead, but it's a completely different story. The only thing they have in common is a Mexican holiday.



@Yachtephan Ah ok
On another note, that trailer looks pretty amazing to be fair


Switch Friend Code: SW-5538-4050-1819 | 3DS Friend Code: 1633-4650-1215 | My Nintendo: Bunkerneath | Nintendo Network ID: Bunkerneat


For me, the wait for this trailer was harder than the wait for the Switch reveal, but it's finally here! My hype levels are exceeding maximum capacity. My only gripe with the trailer is no Hawkeye or Nebula.



@PokeMario Well, Hawkeye and Nebula have always been side characters. No Ant-Man was the most surprising to me.



So ehm, the trailer for the trailer for Jurassic World: Fallen Kingdom has been released and apparently dinosaurs aren't enough of a threat. We need to have an active volcano as well to build suspension. I'm not getting my hopes up for this one guys. What about you?



I've been watching some old Kung Fu movies on Youtube. Here's a few that I liked, all with proper dodgy english dubs, no special effects or wire work, and the actors don't mind getting dusty.
Just to note, there is some swearing in some of these.
Crane Fighter
Twin Warriors (Tai Chi Master)
7 Grand Masters
Dance Of The Drunken Mantis
Drunken Arts Crippled Fist
Of Cooks And Kung Fu

Edited on by Dizzy_Boy

Switch I.D SW-0262-8074-7921
WiiU NNID: Dr_Dizzy
I`ve been a slave from the cradle to the grave.



I saw Star Wars: The Last Jedi today and, without giving away any spoiler, I can say it was a glorious movie experience! So many things done right, so very few disappointments, a lot of scenes that left me stunned, and the movie as a whole left me very satisfied.
Better than The Force Awakens (which I am a big fan of), better than Rogue One (which I thought was just OK) and a thousand times better than the prequels (obviously).

Edited on by NinoDeCoco



Star Wars: The Last Jedi - 9/10

Instead of writing about my thoughts with regards to this film an hour after walking out of the cinema, I wanted to ponder about it over the weekend before doing so.

There are way too many rushed impressions on the internet, mostly because so much happens in The Last Jedi that has seemingly upset (old) Star Wars fans whose nostalgic attachment for the original trilogy is almost unhealthy.


I adore this film.

I enjoyed The Force Awakens, don't get me wrong, but it was very much a case of reintroducing everyone back into the world, and putting everything back in the status quo. Again, it’s not a problem, as I feel like most choices made narrative sense however, they were a bit boring as a whole. It was fun to watch, but offered nothing new.

A New Hope 2.0, it was.

Now, what Rian Johnson had to do with The Last Jedi was probably a nightmare to write.

J.J. Abrams rather ho-hum style of ‘mystery box storytelling’ meant that all The Force Awakens did was pose questions, and left it for people to answer them. I thoroughly dislike that. When questions are asked of the audience, they should have some kind of payoff, and shouldn't be rapid fire, like they were in The Force Awakens.

Off Rian Johnson goes and says "bugger it", and pretty much answers everything in some way, which - to me - seems to be a fundamental part of the backlash this film is receiving.

Snoke is easily comparable to the Emperor, who by the end of Return of the Jedi we still barely knew. He was a way to grow Kylo Ren, and I think it made sense. Revealing that he was the one who created the Force link between Rey and Kylo Ren, and then Kylo Ren hiding himself in the Force as a result until he kills him (the look Kylo Ren gives Snoke at the linking revelation says it all) works for me. It's more boring to have an Emperor rehash exist through IX and give J.J. Abrams the same problem he had in The Force Awakens, which is too much similarity with another film.

So Rian gets rid of him, which I like.

Same thing goes for Rey's parents. Star Wars has always been about being special; Anakin was special, Luke was special, and Rian is going out of his way to show that in a universe that is as large as Star Wars, random nobody’s can be heroes as well! I have a sneaking suspicion J.J. Abrams might retcon this as Kylo Ren lying, but that would be rubbish, and go against the ending to this film, with the stable boy, who is another example of hope with a nobody, somebody who can grow into a new destiny, not fulfill the one that everyone says they should have.

As for the Luke Skywalker plot, in terms of execution, it's my favorite Luke Skywalker plot in the franchise, in no small part due to how remarkable Mark Hamill was in his role. For all the people that were upset that The Force Awakens had Princess Leia and Han Solo back in the same role they were thirty years ago with little to no change, it seems silly to argue against this characterisation, whereas Luke has grown.

He's a broken hero, who could not possibly live up to the hero he became at the end of Return of the Jedi. Legends are often wrong, and that's the point in the film, to a degree, and Luke's arc in thisfilm is embracing his legend. "What do you think I'm gonna do, take on the First Order with a laser sword?" he asks Rey. It sounds silly on paper, until he shows up at the end of the film, and in that moment, the legend of Luke Skywalker is reborn. Personally speaking, the point where he's walking towards the doors and all the Rebels are coming into frame ending in Poe, the swell of the music, it might be my favourite Star Wars scene to date. It was a legend inspiring a new generation to keep fighting, and it was exactly what Luke Skywalker was supposed to be after all these years.

Even Luke's thoughts of killing Ben make sense, considering how important the idea of a legend is in this film. With another Skywalker falling to the dark side, the legend will slowly turn into a curse for the family, one that threatens to mess up the galaxy for generations. I understand why Luke was considering it, but he didn't, and he felt ashamed, and it worked. Somehow, deconstructing the myth of Luke Skywalker, not putting the myth to screen, was the best possible way to handle the return of the character, and I can't applaud Rian enough for what he did.

Sticking with the Jedi aspect of the film, how this film goes to define the Force is what I wanted the prequels to teach me. We had three films devoted to a standing Jedi Order, and this film deals with the Force more than all three of those combined, and makes it more tangible than it felt in any of the original trilogy films. The balance, the light rising to meet the dark, how easy Rey goes to the darkness, it creates for a narrative that goes past a hokey space religion that, for most of the films, was used to move rocks and trick people. Kylo Ren’s struggle to not go to the light in The Force Awakens echoes Rey's issue with not going to the dark side, and it further connects those two characters in an interesting way.

I must admit that the Finn subplot was quite rough, I cannot really say otherwise. Having Finn and Rose sneak on board the Star Destroyer without wasting fifteen minutes in Canto Bight seems like a much stronger choice to shorten the film and get to the point. Saying that, it is only about fifteen minutes in a two and a half hours film, and that's not even considering the fact that the escape sequence, with that John Williams score, is actually pretty enjoyable.

I think the plot for the Resistance was fine, and for all the complaints I have seen about Holdo not telling Poe the plan, when she did, he told Finn, and DJ overheard, and how many people were lost as a result? It's a decent way of justifying the storytelling choice, and as a whole I thought Poe's arc was surprisingly decent. Leia's Supergirl moment was a bit daft, and on paper I can see the idea working fine, but how they put it to screen didn’t really work.

Despite this wall of words, I am actually a fairly casual Star Wars fan, and this is one of those films that challenges you in what to expect in a forty-year old franchise.

I can’t fault people for not liking the film, and I believe that over time it'll fall into better graces with the fandom than it is now. It grows the world of the Force and the order of the Jedi in a way that is both fantastical and believable, and gives a legend a character arc to redefine what legend even means.

I loved it.

Edited on by Peek-a-boo



Star Wars: The Last Jedi

Just saw this last night. I'm disappointed so many people seem to be reacting poorly to it, although I think I do get why. The film seems to take an almost active interest in deconstructing major aspects of the Star Wars mythos, from the cinematic trope characters to situations the original trilogy used so brilliantly. The likable rouge just out for himself is... actually just out for himself in this film: there's no hidden core of nobility to him like there was with Solo. The wise hermit is actually someone who is incredibly embittered and unapproachable, as could be reasonably expected from people who go to lengths to hide in some remote, relatively unknown location in the Galaxy. The "redeemed villain" plot completely fell through: Kylo Ren has been at this dark side business much too long to simply abandon it because blush he touched holographic skin with Rey. Her too: the lone wolf, powerful hero with secret powers and a mysterious past. Who could her parents possibly be?! If you're used to the vaguely aristocratic norms of the other SW movies, you're expecting a hidden connection to a powerful bloodline. Many were expecting her to be a Skywalker or something. But, no, her parents were drunks and louts who sold her. The last ditch effort by the experienced rebel underling to save it from the arrogance of a higher up who was going to get them killed? Well, as it turns out, that whole scheme was completely useless: all Poe did was engineer a situation where half or more of the remaining Resistance fighters were wiped out. Turns out Holdo knew what she was doing. The "Jedi" aren't some special group of mystical space monks who are the only ones capable of saving the universe. Instead, the legacy of the Jedi is in the hands of Rey and other ordinary people, as this film went to lengths to democratize the force. The big bad guy from TFA turns out be vain and easily tricked and killed by Kylo Ren. It goes on and on.

It must be like someone taking a beloved thing from your childhood and putting it under a scalpel to show the defects. Unlike TFA, which was nothing more than a less inspired retread of the same plot of ANH with less interesting characters, TLJ actually sets out to create a new vision of Star Wars: unfortunately, this can only be had by deconstructing the conceptual clutter left behind by years of Star Wars media, so that a new, reconstructed vision of the franchise can be erected in its place (which it starts to do at the end).

I still had some issues with the movie, of course: While I liked aspects of the plotline, the casino planet bits went on way too long and felt like they were padding out the run-time.

I can't ignore that the entire Holdo/Poe situation was caused by a complete lack of communication. Even if Poe was ultimately in the wrong, it was Holdo's unwillingness to communicate with him that ultimately caused all of this to happen. It was a failure of leadership on her part. When he pleads with her to give him some sense of what they're going to do, she merely insults his character and tells him to go sit down and shut up.

Is there a Bechdel test for men? Because Finn would fail it big time. He spends most of the film obsessing about Rey, smaller portions of the film relating to Rose, and almost none of it developing any actually interesting character traits. I was sad that his bromance with Poe was nowhere to be seen here, as it was one of the few charming things about TFA.

Most of the new characters just fundamentally aren't very memorable. While I get that this works for TLJ and its populist vibe, I can't help but feel that, in ten years, almost nobody is going to remember Finn, Rey, Rose, Holdo, Kylo Ren, etc.

Let's talk about the things I did like, though: I didn't much care for the treatment of the force in TFA, but I really liked its depiction here. It felt very much like something sacred and ancient that was constantly a force in human life. It was refreshing to see the ease with which one could fall into the darkness, or, like Kylo, stay there to hide from the light.

The battles in this film are absolutely spectacular. The battle where Kylo Ren and Rey take down a room full of First Order soldiers is probably my favorite in the series to this point: it's visceral, lightning-fast, and utterly thrilling.

As I mentioned, the wonderful, deconstructive nature of the film itself. I'm not surprised, as Rian Johnson is a master of taking circumstances, breaking down the illusions characters hold regarding them, and seeing things to their terrible, inevitable ends. This should be clear for anyone who saw Johnson's work on Breaking Bad. Particularly, the masterful Ozymandias, which is arguably the most well-written hour of television ever made. Another recent example is the stellar Looper.

This film is an actual ensemble piece where everyone gets to contribute. Rey has a central role in the film, but she doesn't ridiculously Rambo her way across it like she did in TFA. This made TLJ so much more satisfying to watch.

Overall, this feels much more cinematic and less glitzy and Hollywood than TFA. This was also a quality missing in the prequels. Despite the changes and subversion, this is the first time I've felt like I was watching a proper follow-up to the original trilogy.

While I've definitely seen better films this year (Blade Runner 2049 and Dunkirk stomped all over it, honestly), it was still a pretty fun experience, and I feel more hopeful about this trilogy now.



@Ralizah I enjoyed reading your post so much, I felt compelled to find a gif to represent my expression:


I especially agree with your comment with regards to the use of The Force. It felt like it was used to such a sparingly extent that when you do see something come of it, it feels sacred and mythical as you said so yourself. And seeing The Force in its earnest during the samurai-esque battle between Kylo Ren and Luke Skywalker made it all the more fascinating and exciting to witness!



@Peek-a-boo I really liked this insight of yours: "Kylo Ren’s struggle to not go to the light in The Force Awakens echoes Rey's issue with not going to the dark side, and it further connects those two characters in an interesting way." There's an interesting contrast with these two characters that manages to make their dynamic interesting, and it definitely feeds into an interesting take on the force. I also agree that they handled Luke's storyline in an interesting way. I think this film is addressing Luke's legacy, not only in the SW universe, but also in real life among fans of the franchise, and I really love films that subtly turn their spear in the direction of the audience as well.

I also liked the more subtle parallels with Empire Strikes Back. Most prominently, the parallels between Rey investigating the black cave on Ahch-To and Luke going into the cave to confront the vision of Darth Vader on Dagobah.

Edited on by Ralizah



Downsizing: Good god, what a massive disappointment this was!

The movie starts out decent enough. A group of scientists have discovered a way to shrink organic matter, which, eventually, gets applied to humans. Humans are able to be shrunk to something like 1/100 of their size, and en masse. Thanks to their drastically reduced living requirements, people who are miniaturized are able to live like kings on relatively little money. $20,000 or so becomes millions for people who are miniaturized. There are also tax benefits the government uses to incentivize people to transition. The first half hour or so of this film explores the implications a bit: what would this mean for humanity's impact on the environment? What would it mean for the social and especially economic spheres of social life when masses of people are dropping out of normal consumer life altogether? Would there be prejudice against differently-sized people? This is the only decent part of the movie. None of this is ever explored again. The main character is a Paul Safranek, an occupational therapist who is played by an incredibly bored looking Matt Damon. He and his wife are having money issues and want a change in their life, so, after talking with some friends who were downsized and seeing that they could live like millionaires in a mansion in a downsized community, they decide to sell off their property and transition as well.

Safranek goes through with it, but his wife flakes out in the middle of the procedure and then proceeds to abandon and divorce him and apparently steals a good majority of his money in the process, he's forced out of his luxurious estate and into a normal working life in the community. Here we see him... date a mousy and pensive single mother... build a relationship with an apparent drug lord neighbor who likes to laugh at people a lot... and then, finally, become the indentured servant of a vietnamese refugee after he breaks her artificial leg in the process of trying to make it more comfortable for her. We see a lot of this refugee and the slum she lives in on the outskirts of the downsized community as the film becomes a social drama. I think they're supposedly falling in love as she constantly berates him and orders him around... I didn't see it.

In the the third act, Safranek and the refugee sail to Norway with the drug lord and someone else for a reason that's never quite clearly explained, and they discover that climate change is rapidly leading to the end of the world somehow (it's mentioned that almost all human life will be wiped out in the next few years), thus signaling a third genre change from a social drama into an apocalyptic film. He discovers that the original colony of downsized scientists have built a shelter that is supposed to protect them underground for thousands of years until... it becomes safe for humans to live on the surface of the Earth again for whatever reason. Safranek is initially gung-ho about joining them, as he feels it will give some meaning to his otherwise meaningless, boring life, but the refugee pleads with him not to go, and he eventually relents, because... she won't go with him, I guess. She thinks it's better to ease suffering in the outside world, and the drug lord mentions that the norwegians will probably end up murdering eachother in a few generations anyway, making their desire to preserve human life from the ravages of climate change worthless. And then... the film ends.

I'm sure there's stuff I'm leaving out, but this is seriously the bulk of the film.

It's hard to begin explaining how many things were wrong with this movie. It's a complete %&$#[email protected]! mess. Let me throw some stuff out there and see if I can properly convey why that is.

  • The movie changes focus constantly, almost schizophrenically. Why did some high-concept sci-fi movie about miniaturizing people turn into a social drama about disadvanaged minority communities? Why did THAT turn into an apocalyptic drama about the end of the world? And why was this all apparently connected by an apparent love story between a boring, almost without personality Joe Schmoe and some bossy vietnamese refugee who speaks in rapid, broken english? This isn't a mix of genres. It's like someone took parts from the scripts for three entirely different movies, lazily connected them with the same group of characters, and called it a day.
  • I have NEVER seen a movie so aggressively squander a good premise. Even a hack writer could have taken this idea and fashioned a decent physical comedy out of it. A good writer could have explored the economic, social, political, and spiritual ramifications of this technology on both society and human relationships (it EVEN STARTED TO DO THIS IN THE FIRST TWENTY MINUTES OR SO BEFORE IT BECAME ABOUT SOMETHING ELSE ENTIRELY!). This... this is nothing. I almost want to say that it takes talent to screw up a movie with this premise so badly. It's like the last 2/3 of the movie has nothing to do with the first 1/3.
  • These people are boring. They have nothing interesting to say or do. The drug lord smiles and laughs derisively a lot. The main character is a blank slate who doesn't feel good about his life. The refugee is just a normal person who tries to live from day to day. There are other characters, like the horrible wife and... other people, but they barely even qualify as characters. These people aren't interesting to watch, aside from the sheer fact that they were miniaturized. The end of the movie acts like this group of people have bonded together in some form, but I never saw that, and even if they did, there's no reason for us to care about that.
  • I keep seeing the word "satire" pop up in reference to this film online, but... doesn't a satire usually... I dunno, satirize something? Doesn't it usually have something to say? I got nothing out of this movie. Destroying the planet is bad? There's no magic pill to improve your life? I'm reaching here. The film has nothing to say. It's about nothing. There are people, and stuff happens to those people, but there is never any analysis of this, and it's never fun to watch. It fails as art AND as entertainment. What's left?

If you had asked me what I thought of it when I saw it the day before yesterday, I would have told you that it was a functional movie that was just profoundly disappointing on all levels. But the more I think about it, the less I like it. It's an aggressive waste of time.

Edited on by Ralizah



Last movie I saw "IT"




Your Name: Watched this earlier today, so everything is still a bit... fresh.

Makoto Shinkai's previous work, while promising and incredibly distinctive, has always felt a bit... incomplete. His cinematic voice, while very clear, hasn't always worked well with the trappings of the fictional devices he has used to deliver them. His films often feel like imperfect structures meant to convey some sense of his fascination with the passage of time and the mystery that is the emotional life of a human being, with a sense of overwhelming longing being the glue he uses to marry these two things together. Your Name is the first film of his where the symbolism and themes usually explored in his works seem to be almost wholly integrated into the action of the fictional narrative itself, resulting in a captivating display of mature and engaging storytelling.

This film is ingeniously constructed, but not in a way that calls attention to itself. It's almost perfectly paced, for example: most films, even truly excellent ones, often feel like they're lingering too long in certain areas, or are rushing through other sequences with a bit too much speed. But every sequence in Your Name is there for a reason, and every scene lasts exactly as long as it needs to to achieve the desired effect. The way in which the film is plotted is also pretty brilliant, launching the viewer (and the characters) into the central thrust of the story without warning, allowing us to experience this journey with them while also avoiding the usual pitfalls of this sort of approach (namely, confusing the heck out of the viewer). It also cleverly foreshadows a later twist throughout the film: the twist felt surprising but inevitable, like the plot developments in a first-rate mystery.

Multiple genres are blended pretty seamlessly here: this film is simultaneously a body-swapping comedy, romantic drama, coming of age story, apocalyptic science-fiction thriller, and thoughtful meditation on the nature of time, fate, and human life. Every aspect of the film comes together pretty beautifully to create something uniquely charming, entertaining, and beautiful.

I should also mention that this is the least openly emotionally manipulative of Shinkai's films that I've seen. Obviously everything has been constructed to lead viewers on a certain emotional path, but it's so well-integrated into the fabric of the film itself that it feels like these emotions just spontaneously arise from the experience. Gone are the long, maudlin monologues set against stunning environmental backdrops that dotted previous films of his. If his previous works were too "tell" and not "showy" enough, then Your Name is almost entirely about showing the emotional journeys of his characters.

Not that the film is flawless. There is a running joke throughout the film where the male main character, Taki, begins to fondle himself when he wakes up in the body of the female main character, Mitsuha. The first time it happens, it's understandable, but it seems a bit skeevy and violating when he keeps doing it throughout the film, as he knows Mitsuha is a real person and she's uncomfortable with Taki exploring her body. Moreover, certain aspects of the story itself, even though they work brilliantly on a thematic and character level, probably wouldn't stand up to scrutiny from a viewer looking to "connect the dots" between everything that happens in the film. And there is a pretty blatant deus ex machina in the latter half of the film that I felt hurt the integrity of the narrative as a whole. It obviously wasn't enough to spoil the experience, but it does feel like Shinkai writes himself into a corner at one point, and there is no way to proceed without appealing to a mystical plot element that never popped up before in the film. It works thematically, as I said, but there is only so much you can reasonably hope to accomplish in a narrative by appealing to the mysteries of the divine.

Oh, that's one other thing I should discuss. This is a pretty uniquely Japanese film. Japanese traditions, mysticism, and their place in the modern world are a fairly prominent element of this film, and I loved the flair they lent it. Despite the emotions being universal, this film feels very Eastern, and I adored the way it celebrates both modern and traditional Japanese life-styles and customs.

While I wouldn't call think Shinkai's most distinctive or unique work, it is more definitely his most well-made film: something that succeeds wholly as both art and as mass entertainment. I wouldn't call it the greatest work of Japanese animation I've ever seen, but I do think it deserves to be in the running when people discuss great works of Japanese cinema.

If you haven't seen Your Name, you owe it yourself to remedy this. Regardless of your feelings on body-swapping comedies, animation, Japanese animation, romances, or films with heavy speculative elements, you're almost guaranteed to have a good time with this one.

Edited on by Ralizah



Ralizah wrote:

...Regardless of your feelings on body-swapping comedies...romances, or films with heavy speculative elements...

Oh yeah, that's why I skipped Your Name...

Edited on by CanisWolfred

I am the Wolf...Red
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