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Post by You probably can't touch this. on May 7, 2010 11:06:34 GMT -8
Mierda. Well here's the video on Ain't It Cool. From what it says, it was dropped off for them personally to host so that Fox can't remove it. www.aintitcool.com/node/44943 |
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Post by Kuat on May 7, 2010 13:16:07 GMT -8
Favorite quote: "Deporting them back to their own personal hells"
I knew Mexico was south of the border, but I didn't realize how south. Then again, I always thought Calderon did look a bit sinister, and that I smelled the distinct hint of sulfur in Tijuana.
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Post by Captain Galaxy on Jun 1, 2010 14:26:54 GMT -8
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Post by The Dankness on Jun 1, 2010 18:33:30 GMT -8
Aw, I was excited about that.  |
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Post by Captain Galaxy on Jun 1, 2010 21:07:24 GMT -8
Aw, I was excited about that. I think he was near perfect for the job, its just that what he did with Hellboy II, even though it was awesome, kinda seemed out of place with his trademark creature aesthetics, and too much like Pan's Labyrinth. A little doubt that was probably unfair. Rumor is now that Peter Jackson might step up from producer to director as well, and really what better person than the director of LotR? |
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Post by Captain Galaxy on Jun 25, 2010 14:12:14 GMT -8
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Post by Captain Galaxy on Dec 21, 2010 5:57:07 GMT -8
"The Grid. A digital frontier. I tried to picture clusters of information as they move through the computer. What did they look like? Ships? Motorcycles? Were the circuits like freeways? I kept dreaming of a world I thought I'd never see. And then, one day, I got in."  Alright, for those who have seen the movie, lay out your thoughts on the film. For those that haven't, go see it. But see Tron, first. Being a film I really really like, I'd like to talk about it. I'll also be the first to point out flaws and imperfections a film I really like has. I wasn't sure what to think of the film the first time I saw it, but I was certainly thinking about it. Now, having viewed it twice, I can say that I definitely really like it. This is the first film that I have listened to the soundtrack of before watching it. It made the experience really really interesting to see how the music I was already familiar with was used in the film. That being said, the music was awesome. Daft Punk did an incredible job. Addressing the "son et lumiere" of the film, the technical part of it, it was amazing. Great visual style, art design, and "mise-en-scene". I think the characterization in the film was really good, although I wish it wasn't too much like "The Dude" versus himself. Garret Hedlund was okay as Sam Flynn, and the character was pretty cool. Of course Olivia Wilde was awesome as Quorra, she was a great mixture of cuteness, childlike inquisitiveness and badassery. She was my favorite until I saw it the second time and realized that C.L.U. was actually my favorite. His character is an interesting philosophical point in the film, revealed at the end when we find out that he was just doing what he was created to do: "To create the 'perfect' system." Emotionally, that part at the end of the film was handled pretty well. It made CLU a tragic character, he was doing what Kevin programmed him to do, and the emotion of not being appreciated for doing that came through. Furthermore, it was impossible for him to know any better because at the time of his creation Kevin Flynn himself did not know any better. That Kevin and CLU were one and the same gave them both an aspect reminiscent of Ahura Mazda, and added to the complexity of their relationship. I find it interesting that critics say the film lacked emotion, because it was all there. In Sam and Kevin's paternal relationship, in CLU's nature, in Tron's multiple fates, in Quorra's naiveté. There was great emotion in Tron's sacrifice and his eventual return, as there was in the story of the genocide of the Iso's, "The purge" as Quorra called it. I also loved the transition from Sam's childhood to adulthood. Moving on, I thought the film had a lot of great ideas. In the first film, the users were seen as creators, as gods, and it gave the film an interesting aspect that programs saw them as deities of their religion. So I thought it was really neat that the origin of the Iso's in Tron: Legacy was analogous to the biological theory of evolution. A major theme of the film was identity. It's there in CLU and Kevin's relationship. And it's even there symbolically in Rinzler's dual disc usage, which I really like: The scene where Tron/Rinzler realizes that he can takes someone else's "Identity" (stressing identity) disc and use it, is not just awesome stylistically but symbolically as well, and pertains to the film's plot with identity replacement, seen more evidently later on with the re-purposing of programs. When it is revealed that Quorra is an Iso gives new meaning to her specialness and identity. At this point in the film, we already like the character, and revealing her as an Iso makes her more awesome. Where does the film fail? Concreteness. It's afraid to make things obvious or known. Nowhere in the film is Tron's true purpose made known. His sacrifice to let Flynn escape CLU's coup and his eventual return to his side is lost upon audiences that have not seen the first film and don't know this. The film never explicitly states why Quorra was able to transfer to the real world. The information is there, but it might be too vague and "smartly worded" and given in too many snippets in too many parts throughout the film. It also would've helped to use the Recognizers and the Tanks to constantly pursue them, to provide the film an atmosphere of fear, which could've greatly enhanced CLU's reign. Regardless of its flaws, I absolutely love the film. It's amazing. |
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Post by You probably can't touch this. on Dec 22, 2010 10:00:07 GMT -8
Hmm, this sequel sounds smarter than the original. Your point of where the film fails is perhaps what I may enjoy it most. I dislike films that are too present about their ideas. Of course, this isn't some pure principle since I also dislike when ambiguity is contrived. Inception bothered me on multiple layers on this part, pun not intended but welcomed. In short, on the logos of any film, it's a fine line between being preachy and condescending. Subjective criteria, of course, what isn't?
Now just if this peninsula hurried up with bringing the film over.
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Post by The Dankness on Dec 22, 2010 13:50:27 GMT -8
I think the characterization in the film was really good, although I wish it wasn't too much like "The Dude" versus himself. I stopped reading your review there. It's like you said "I liked the movie except for the fact that it's infinitely awesome." End of line, man. |
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Post by Captain Galaxy on Dec 22, 2010 18:39:04 GMT -8
Hmm, this sequel sounds smarter than the original. Your point of where the film fails is perhaps what I may enjoy it most. I dislike films that are too present about their ideas. Of course, this isn't some pure principle since I also dislike when ambiguity is contrived. Inception bothered me on multiple layers on this part, pun not intended but welcomed. In short, on the logos of any film, it's a fine line between being preachy and condescending. Subjective criteria, of course, what isn't? Now just if this peninsula hurried up with bringing the film over. As, a student of film, I tend to have a "whatever works" approach to film. There is no one right way to make a movie. I think that kind of view could be applied to many different kinds of art, but we'll just talk about films here. So that's just another way of saying that I agree with you. However, expanding on that, expecting something from a film has a definite effect on the experience of viewing it. I came to Tron: Legacy expecting something else, which is why I wasn't too sure about it. Which is why when I saw it again, knowing already what it had to offer, I came to realize that at its core it's a drama disguised as a fantasy film. I'm not too sure about what ambiguity you're referring to in Inception, but if you're referring to the end, I think it was the only way they could've ended it. At first I thought it was lame that they ended it that way. But then I realized that it brings across the true point of the film: that an idea is infectious. What doesn't matter is whether or not Cobb was still in another dream layer at the end, what matters is that that idea of doubt has been planted in the audience. So it became a meta-film. Which I think is pretty cool. The film actually performs Inception on you. |
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Post by Captain Galaxy on Dec 22, 2010 18:51:44 GMT -8
I think the characterization in the film was really good, although I wish it wasn't too much like "The Dude" versus himself. I stopped reading your review there. It's like you said "I liked the movie except for the fact that it's infinitely awesome." End of line, man.  End of Line is a great track by the way. |
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Post by You probably can't touch this. on Dec 23, 2010 10:43:07 GMT -8
I'm not too sure about what ambiguity you're referring to in Inception, but if you're referring to the end, I think it was the only way they could've ended it. Yeah, exactly that but also the structure of the "heist" genre which, I think, stole a lot of the power from the surrealism of dream-states. I agree that is was the only way it could have ended but I think this makes it even more tragic on the scriptwriting side. I might have tossed the whole movie away. But then I realized that it brings across the true point of the film: that an idea is infectious. This, I think, is where my expectations (as well as hopes and fears) fucked the movie up for me. I've already been aware of memetics for a while and have various disagreements with the quasi-science. When I identified this theme, I was disgusted by it. I noticed it in the first viewing and it was definitely the backdrop of contriviality that sucked the air out of my experience. Through memetics, all of philosophy came to bear, such as the popularly seductive Berkeley, the whole thing became too familiar. |
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Post by Captain Galaxy on Dec 23, 2010 13:51:32 GMT -8
I'm not too sure about what ambiguity you're referring to in Inception, but if you're referring to the end, I think it was the only way they could've ended it. Yeah, exactly that but also the structure of the "heist" genre which, I think, stole a lot of the power from the surrealism of dream-states. I agree that is was the only way it could have ended but I think this makes it even more tragic on the scriptwriting side. I might have tossed the whole movie away. But then I realized that it brings across the true point of the film: that an idea is infectious. This, I think, is where my expectations (as well as hopes and fears) fucked the movie up for me. I've already been aware of memetics for a while and have various disagreements with the quasi-science. When I identified this theme, I was disgusted by it. I noticed it in the first viewing and it was definitely the backdrop of contriviality that sucked the air out of my experience. Through memetics, all of philosophy came to bear, such as the popularly seductive Berkeley, the whole thing became too familiar. I think the movie perfectly gets away with it being a heist film, because it all takes place in lucid dreams. Someone is always in control, so the lack of surreality can be excused, although some points in the film were surreal: the train, manipulation of gravity. Not all dreams are the same. I also think that an idea isn't infectious, and that kind of claim is shaky, but I'm just saying that in the movie's world, this was the premise, so suspending our disbelief, we can come to accept that. I completely agree with you on all your points, but I think the film was engineered to make people realize that "Inception" had been performed on them at the end. It doesn't matter if Cobb was still in a dream state or not, what matters is that if you had been made to think about it-- the film had already won. It was then up to the viewer to realize that the whole movie WAS Inception. I think that is a pretty crazy feat in itself. I myself didn't buy into the movie, I guess where both too smart for it. But I can definitely appreciate the meta-film he made. He also did it with The Prestige if you ever saw that one, the whole movie was a magic trick on the audience itself. |
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Post by Captain Galaxy on Dec 30, 2010 15:44:45 GMT -8
In the Brookers' analysis, "Through Vince...we see the contemporary world as utterly contingent, transformed, disastrously, in the instant you are not looking."[193] Fraiman finds it particularly significant that Vincent is reading Modesty Blaise in two of these instances. She links this fact with the traditional derisive view of women as "the archetypal consumers of pulp":
Locating popular fiction in the bathroom, Tarantino reinforces its association with shit, already suggested by the dictionary meanings of "pulp" that preface the movie: moist, shapeless matter; also, lurid stories on cheap paper. What we have then is a series of damaging associations—pulp, women, shit—that taint not only male producers of mass-market fiction but also male consumers. Perched on the toilet with his book, Vincent is feminized by sitting instead of standing as well as by his trashy tastes; preoccupied by the anal, he is implicitly infantilized and homosexualized; and the seemingly inevitable result is being pulverized by Butch with a Czech M61 submachine gun. That this fate has to do with Vincent's reading habits is strongly suggested by a slow tilt from the book on the floor directly up to the corpse spilled into the tub.
Feminist film theory is sometimes just bullshit.
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Post by Muramasa on Jan 11, 2011 13:45:21 GMT -8
Crab battle in The 7 Adventures of Sinbad
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Post by Inaaca on Jan 11, 2011 14:10:03 GMT -8
That was a big crab... and crabs need money, too.
Maybe he was like the Robin Hood of the crab world.
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Post by Muramasa on Jan 13, 2011 15:57:15 GMT -8
I found the thought of a very merry giant crab in green tights very amusing. Good show. *golf clap*
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Post by You probably can't touch this. on Jan 27, 2011 8:45:03 GMT -8
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Post by Inaaca on Jan 28, 2011 11:09:40 GMT -8
Wow...
How has Andrew not commented on this yet?
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Post by The Dankness on Jan 28, 2011 11:26:20 GMT -8
The only thing that's kept me from watching that infamous clip is my great desire to see that movie and not wanting to have it spoiled... though I'm considering giving in.
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