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Macrology wrote:

It was my first attempt, so there's room for improvement, but it wasn't bad. I used Big Freedia's recipe.

Best I ever had was made by a coworker's wife, but sadly he no longer works with us. Calling his wife would be inappropriate, right?

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Tue Sep 11, 2018 11:00 am
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Macrology wrote:

It was my first attempt, so there's room for improvement, but it wasn't bad. I used Big Freedia's recipe.

I think I have mostly only had Miss Linda's, either from her truck, at the Ogden Museum, or at Bywater Bakery. I did have some at Jazz Fest once or twice, not sure if she was making it back then or not.

Shit, now Ima have to try n make it.

https://www.louisianacookin.com/8078-2/


Tue Sep 11, 2018 12:50 pm
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Meeting Gorbachev is an engaging if not particularly substantive portrait of the man, interviewed by none other than Werner Herzog. Probably the most interesting thing about the movie is how Gorbachev refuses easy characterizations of his legacy, by the public, by fellow politicians, and by Herzog's soft attempts to shape him into a Herzogian figure. Much of Gorbachev's public perception rests on the strength of his personal connections with fellow world leaders (particularly Reagan, of whom he still speaks highly, although he's still mad at Yeltsin), and you get some of that in his conversations with Herzog, who seems to value their time together as something more than an opportunity for portraiture. (The feeling seems to be mutual, as the movie was initially supposed to be two conversations, but Gorbachev, despite being in the hospital, insisted on having Herzog and company back for a third meeting.) The most moving passages actually come from excerpts from another documentary, showing Gorbachev still moved by the death of his wife, making the not exactly revelatory yet still poignant observation that a figure so influential in world history is still ultimately a human being.

I can confirm from the Q&A afterwards that Herzog's cadence is as mesmerizing in person as it is in recordings, and he was generous enough to drop some prime Herzogisms, particularly around the inclusion in the film of a news story about using beer to attract slugs.

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Tue Sep 11, 2018 1:47 pm
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Did the film touch on when Gorbachev wen to visit Bush Sr. and he instead found him grappling with local oaf?


Tue Sep 11, 2018 2:45 pm
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Yes, the look of disappointment on his face was something to behold.

Image

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Tue Sep 11, 2018 2:59 pm
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RBG B

They done her some justice!


Wed Sep 12, 2018 12:49 pm
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Rock wrote:
Meeting Gorbachev is an engaging if not particularly substantive portrait of the man, interviewed by none other than Werner Herzog. Probably the most interesting thing about the movie is how Gorbachev refuses easy characterizations of his legacy, by the public, by fellow politicians, and by Herzog's soft attempts to shape him into a Herzogian figure. Much of Gorbachev's public perception rests on the strength of his personal connections with fellow world leaders (particularly Reagan, of whom he still speaks highly, although he's still mad at Yeltsin), and you get some of that in his conversations with Herzog, who seems to value their time together as something more than an opportunity for portraiture. (The feeling seems to be mutual, as the movie was initially supposed to be two conversations, but Gorbachev, despite being in the hospital, insisted on having Herzog and company back for a third meeting.) The most moving passages actually come from excerpts from another documentary, showing Gorbachev still moved by the death of his wife, making the not exactly revelatory yet still poignant observation that a figure so influential in world history is still ultimately a human being.

I can confirm from the Q&A afterwards that Herzog's cadence is as mesmerizing in person as it is in recordings, and he was generous enough to drop some prime Herzogisms, particularly around the inclusion in the film of a news story about using beer to attract slugs.


What the hell is a Herzogism? You know you made that shit up to look cool. Hey neat I can do it too. Lynchism.


Wed Sep 12, 2018 12:50 pm
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I'm going to go ahead and coin the term Herzogasm. Please note the time stamp on this post and direct your licensing fees accordingly.


Wed Sep 12, 2018 1:54 pm
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I wasn't sure what thread this should go in but it looks like Warner Bros. is cutting ties with Henry Cavill as Superman. I thought he made a decent enough superhero but this seems like just another example of the studio not having it's shit together. The Michael Jordan news sounds like a misstep.
https://www.youtube.com/watch?v=F5xzgfn84Jo


Thu Sep 13, 2018 12:38 pm
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boojiboyhowdy wrote:
I wasn't sure what thread this should go in but it looks like Warner Bros. is cutting ties with Henry Cavill as Superman. I thought he made a decent enough superhero but this seems like just another example of the studio not having it's shit together. The Michael Jordan news sounds like a misstep.
https://www.youtube.com/watch?v=WkoOxkE1bz8
Maybe Cavill could've made for a good Superman and stepped out of the decades-long shadow cast by Christopher Reeve's cape with the right characterization, but the DC 'Verse wasted too much time on what his version of Supes wasn't (i.e. not like Reeve's) instead of showing what he was, with way too many other character just talking about what he supposedly represented instead of actually letting him show it himself through his actions, and what little definition he was given tried WAY too hard to be like Bale's Batman anyway. And, with their shaky track record, I can't say I'm too surprised that they've lost him too, but if the rumor with Jordan does come true, then I'd totally be up for an MBJ Superman reboot, absolutely; just so long as we start getting good DC movies, dammit!

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Thu Sep 13, 2018 12:56 pm
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Western (2017)

German workers plopped outside of a Bulgarian village for the purpose of building infrastructure for the same. I'm required to mention the lead actor, since that's what people do, and I have to admit, with good reason, because the guy sold it. He's a skinny, leathery, sinewy hunk of Deutschland and manages to squeeze every last drop of authenticity out of his performance that people demand of a non-actor. The movie, meanwhile, leans on a heavily jump-cut, low-key naturalistic style in keeping with the man. Just look at the title, everyone. We know what's happening here. Those decadent Europeans are adopting our genre for the purpose of subverting it. I know what to expect.

And yet, for the bulk of the movie, the main narrative and character beats seem to be safely in line of your usual Western: strong silent type with a good heart, many skills, a mysterious past, and a wandering temperament in search of roots; an apparently vulnerable community; an intruding, mercenary group. How will we resolve this? Redemptive violence probably. And yet, what's all this other shit we're bothering with? What's all this stuff about people reaching across cultural and linguistic divides? What's with all these tangential moments without a clear-cut purpose? It's a Western, but we're already primed for an Eastern, or at least an Eastern European (they aren't heading West, you guys, get it?!), and it toes these conflicting lines, leaving it open where it intends to end.

We're caught in between two expectations, the tried-and-true Western tropes and the, by now, differently well-entrenched responses of the European arthouse film, the deflationary mirror-image of the former. Who's the genre white hat? Who's the genre black hat? Who will win? How will it matter? I remember as a kid during the whole hoopla over Heat thinking that the clash between DeNiro and Pacino was a question of settling who was the better actor and whoever killed whom would settle the matter for good. I don't feel the same now, but all the same, Western was a pretty good movie.


Thu Sep 13, 2018 1:15 pm
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boojiboyhowdy wrote:
I wasn't sure what thread this should go in but it looks like Warner Bros. is cutting ties with Henry Cavill as Superman. I thought he made a decent enough superhero but this seems like just another example of the studio not having it's shit together. The Michael Jordan news sounds like a misstep.
https://www.youtube.com/watch?v=F5xzgfn84Jo

I think he was a good Superman for the scripts they gave him. If they are going to go forward at all with the character, his dismissal highlights their failure, not his.


Thu Sep 13, 2018 8:05 pm
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I was unmoved by a lot of the palatial intrigue in Zhang Yimou's Shadow, but on a technical level the movie is splendid, with a largely monochromatic visual style to evoke inkbrush paintings (done primarily through meticulous production design). There's a clear Kurosawa influence, with the presence of doubles in the narrative, an emphasis on pageantry and a rain-drenched action scene, but also a bit of Shaw Brothers sneaking in with the prominent use of unusual weapons and combat styles.

Shinya Tsukamoto's Killing tells a simple yet undeniably effective samurai tale about an escalating cycle of violence, subverting the tropes of the genre in how the presence of samurai and their insistence on their codes of honour actually exacerbate the situation. I'm usually not crazy about the use of handheld camerawork in action scenes, but the cinematography here feels unusually participatory, like you're another combatant, and some of the rapid editing is effective in suggesting the skill level of one of the characters. (Amusingly, Tsukamoto said he edited the scene that way to hide his bad back.)

I like genre movies where characters come to the situation with pre-existing baggage, and Karyn Kusama's Destroyer is quite compelling in that regard. Nicole Kidman, looking as haggard and burnt out as ever, is an alcoholic, abrasive cop investigating a case that relates to an undercover fuckup from her past. It's the kind of turn that might be easy to dismiss as a stunt (her makeup brings to mind Charlize Theron in Monster and Johnny Depp in Black Mass), but she really internalizes her character's turmoil and I think the movie keenly subverts the loose cannon cop trope by presenting a deeply damaged individual in that role. Leaving the theatre I wasn't in love with the movie's unfurling flashback structure, but I'm beginning to think it's part of that same subversion in making our perspective of the narrative shift with our understanding of the heroine.

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Thu Sep 13, 2018 10:56 pm
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Stu wrote:
Maybe Cavill could've made for a good Superman and stepped out of the decades-long shadow cast by Christopher Reeve's cape with the right characterization, but the DC 'Verse wasted too much time on what his version of Supes wasn't (i.e. not like Reeve's) instead of showing what he was, with way too many other character just talking about what he supposedly represented instead of actually letting him show it himself through his actions, and what little definition he was given tried WAY too hard to be like Bale's Batman anyway. And, with their shaky track record, I can't say I'm too surprised that they've lost him too, but if the rumor with Jordan does come true, then I'd totally be up for an MBJ Superman reboot, absolutely; just so long as we start getting good DC movies, dammit!
That's a good point. I never really clocked it that way. I liked Cavill's presence as Superman. His embodiment of what I imagined the character to be. In that regard I think his was the best representation. But they really mishandled everything else. I thought it was a simple case of a meagerly written character but it might have also been what you pointed out.


Fri Sep 14, 2018 1:10 am
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Wooley wrote:
I think he was a good Superman for the scripts they gave him. If they are going to go forward at all with the character, his dismissal highlights their failure, not his.
Oh most definitely. If they couldn't do anything with a solidly cast character then it doesn't bode well for whatever else they have in mind. I used to be able to cut the DCEU a lot of slack because I thought a lot of the abuse hurled at them was fanboyism run amok but this is the clearest indicator that it's all been mostly self-inflicted.


Fri Sep 14, 2018 1:17 am
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does this mean they'll re-boot the Kents as well? (I hope so)


Fri Sep 14, 2018 1:18 am
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boojiboyhowdy wrote:
I wasn't sure what thread this should go in but it looks like Warner Bros. is cutting ties with Henry Cavill as Superman. I thought he made a decent enough superhero but this seems like just another example of the studio not having it's shit together. The Michael Jordan news sounds like a misstep.
https://www.youtube.com/watch?v=F5xzgfn84Jo


This is the perspective of someone who hasn't seen a single DCEU film, so take that as you may... but this DCEU has looked like a mess since the beginning (pretty much why I've stayed away from it). Starting in 2013, with Man of Steel, it seemed that their main focus from the beginning was to rush up the process so they could match up Justice League with the MCU (which had started in 2008) and one of the Avengers films. Rarely does this rushed jobs end up with good results, but when we're talking about a multi-million dollar, multi-film universe involving numerous films, characters, writers and directors, I don't think it was the best approach. In addition, they put a visually attentive yet narratively problematic director at the helm of it all. The result, from the get-go, seems to have been polarizing at best, and a mess at worst. Every single film they've released, with the exception of Wonder Woman, has been received with more and more contempt and amazement at how bad they've been. I know critics tend to exaggerate at times, but nothing I've read has enticed me to see a single of their films. And with every failure, I'm sure the writers and directors have been scrambling trying to make something out of nothing. It seems unfixable by now, and I think the best approach is to nuke it and start anew.

That's the take of an outsider.

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Fri Sep 14, 2018 1:44 am
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boojiboyhowdy wrote:
I liked Cavill's presence as Superman. His embodiment of what I imagined the character to be. In that regard I think his was the best representation.


Cavill was fine as an actor.

Going forward, however, I don't know that he still has the hairline for the part (especially when they do the Superman part of his hair). He's so bulky (muscular) that his body doesn't express the sort of fluidity of form and motion that seems to be part of the character (Superman is so strong that he doesn't really need to be tanked out, he just "is" Superman). For me, the look isn't quite right. A dour muscle-man with a high widow's peak in a drab and dark red and blue uniform is not really what I think of as Superman.

But DCU is and would be a mess regardless of the actor cast in the part. There's just too much going wrong in this franchise.


Fri Sep 14, 2018 2:26 am
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Oxnard Montalvo wrote:
does this mean they'll re-boot the Kents as well? (I hope so)
Do you want them to go back to being older? More in line with the comics of old? Marvel hasn't caught much grief for Rosemary Harris > Sally Field > Marissa Tomei. But then they've probably earned the benefit of doubt.


Fri Sep 14, 2018 3:10 am
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V/H/S 2, 2013, 2nd watch (D)

It's pretty much all dumb and the last one is one of the most insufferable thing I've ever watched. I think I might have gotten a headache from it.


Fri Sep 14, 2018 3:23 am
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Thief wrote:
It seems unfixable by now, and I think the best approach is to nuke it and start anew. That's the take of an outsider.
It sounds like that's exactly what they might be attempting to do. It's yet another misstep. I don't think there are enough "outsiders" at this point to make it worthwhile. They'll just anger and alienate their current crop of fans (myself included). The overriding problem is that everything they do is so plainly a cash grab that they've burned through what little good will they've been able to build up so far. Marvel might still be the New England Patriots but at this point DC is the Buffalo Bills. This is so fucked up.


Fri Sep 14, 2018 3:24 am
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Thief wrote:
it seemed that their main focus from the beginning was to rush up the process so they could match up Justice League with the MCU (which had started in 2008) and one of the Avengers films.

And that was completely unnecessary. If audiences could accept X-Men in 2000 with no prior set-up, they surely could've handled a JLA movie. The "brand awareness" of Superman, Batman, WW, etc is miles beyond that of Wolverine and Cyclops. DC had the advantage of being able to give us their "Avengers" right off the bat and make billions but chose the copycat route instead. As a result they ended up in a situation where they couldn't even use Superman in their JL promos, having killed him off in the prior film. They've taken every wrong step possible.
I say swallow your pride, admit that WW is the only thing working, and nuke everything else.

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Fri Sep 14, 2018 3:37 am
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Captain Terror wrote:
And that was completely unnecessary. If audiences could accept X-Men in 2000 with no prior set-up,


Wolverine was our POV/audience surrogate character in that film, so in that sense we do get a "set-up." For JLA I suppose a new hero discovering the league could fit the bill, or perhaps a Lois Lane outsider getting access inside while investigating a story would work.


Fri Sep 14, 2018 3:52 am
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Stu wrote:
Maybe Cavill could've made for a good Superman and stepped out of the decades-long shadow cast by Christopher Reeve's cape with the right characterization, but the DC 'Verse wasted too much time on what his version of Supes wasn't (i.e. not like Reeve's) instead of showing what he was, with way too many other character just talking about what he supposedly represented instead of actually letting him show it himself through his actions, and what little definition he was given tried WAY too hard to be like Bale's Batman anyway. And, with their shaky track record, I can't say I'm too surprised that they've lost him too, but if the rumor with Jordan does come true, then I'd totally be up for an MBJ Superman reboot, absolutely; just so long as we start getting good DC movies, dammit!

Really agree with the bolded.
Do not agree with Jordan. He overacts in everything.


Fri Sep 14, 2018 4:30 am
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boojiboyhowdy wrote:
Do you want them to go back to being older? More in line with the comics of old? Marvel hasn't caught much grief for Rosemary Harris > Sally Field > Marissa Tomei. But then they've probably earned the benefit of doubt.


they can be older, younger, whatever. just as long as they aren't telling Sups he should let a bunch of kids drown.


Fri Sep 14, 2018 8:00 am
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Oxnard Montalvo wrote:
does this mean they'll re-boot the Kents as well? (I hope so)

Some dogs you just can't rescue.

*costner chagrin gif*


Fri Sep 14, 2018 8:32 am
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Rock wrote:
I was unmoved by a lot of the palatial intrigue in Zhang Yimou's Shadow, but on a technical level the movie is splendid, with a largely monochromatic visual style to evoke inkbrush paintings (done primarily through meticulous production design). There's a clear Kurosawa influence, with the presence of doubles in the narrative, an emphasis on pageantry and a rain-drenched action scene, but also a bit of Shaw Brothers sneaking in with the prominent use of unusual weapons and combat styles.

I was hoping that this would be a more firm return to form after the fiasco of Great Wall. Sounds like he got about halfway there. As long as it looks great (no lizards, etc).

You should do a more complete summary of your TIFF adventures. It might even suffice a thread of its own.


Fri Sep 14, 2018 8:37 am
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Oxnard Montalvo wrote:
they can be older, younger, whatever. just as long as they aren't telling Sups he should let a bunch of kids drown.
Heh. I had actually blocked that out. It did have something for everyone.

To hate. Apparently.


Fri Sep 14, 2018 11:50 am
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The Predator is the Catwoman of Predator movies.


Fri Sep 14, 2018 11:54 am
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ThatDarnMKS wrote:
The Predator is the Catwoman of Predator movies.


So that's a good thing?


Fri Sep 14, 2018 12:11 pm
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ski petrol wrote:

So that's a good thing?

Like Catwoman, you have to ask "how did this happen? How did no one stop this? Why are so many talented people doing this to us?"

So... Depends on your drunkenness and ability to heckle the film.


Fri Sep 14, 2018 12:15 pm
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Jinnistan wrote:
I was hoping that this would be a more firm return to form after the fiasco of Great Wall. Sounds like he got about halfway there. As long as it looks great (no lizards, etc).

You should do a more complete summary of your TIFF adventures. It might even suffice a thread of its own.

Haha, maybe next year. I've only got a handful of movies left, and there are fewer Q&As towards the end. There are a few movies that I've still been chewing over though (particularly American Dharma, even though that's probably been my least favourite of the ones I've seen so far) so if I hammer out anything more substantive I might post it here.

This is actually my first Zhang Yimou, so I can't judge the movie relative to the rest of his work. Someone kinder to period pieces might enjoy the movie more than I did. They're generally not my thing, and in this movie in particular I didn't find the protagonist particularly interesting as a character outside of his place in the narrative. There are a couple of other supporting characters that I found myself more interested in, and the movie might have worked better from me had it been told more from their perspectives.

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Fri Sep 14, 2018 2:48 pm
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V/H/S Viral (A-)

I think I hated this at first, but I watched it at least 3 years ago, so it's hard to remember why. I loved it. It's the best of the three. The only big thing I didn't like is that it is entirely thematically dissonant with the others. Every short uses at least two cameras. With short 2 and 3, it's not too bad, but the first one is a full production with unexplained multiple camera setups with music and all and it's actually made to look like part of a documentary. Still a good short, but I'd prefer keeping in tone with the rest of the franchise.

The following short is the best. It's absurd and over the top without being exploitive, has the best core concept of anything in the franchise and I think would appeal to anyone who liked Safe heaven. So would the last one, in its own way.

The framing device is also excellent. It's hype and enigmatic and, while there's no real explanation on how the tapes are being watched, unlike the other two in which people were just straight up watching the tapes, it adds a good level of depth to the movie.

I would recommend the whole movie for sure.

I have absolutely no clue why this movie is rated 4.1 on Imdb. What the hell do these people know.


Sat Sep 15, 2018 3:40 am
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ThatDarnMKS wrote:
Like Catwoman, you have to ask "how did this happen? How did no one stop this? Why are so many talented people doing this to us?"

So... Depends on your drunkenness and ability to heckle the film.


Yeah, I'm seeing lots of similar reviews. It's a shame cause I think there is potential in the franchise/premise, and I like a lot of the talent involved.

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Sat Sep 15, 2018 6:25 am
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Thief wrote:

Yeah, I'm seeing lots of similar reviews. It's a shame cause I think there is potential in the franchise/premise, and I like a lot of the talent involved.

I'm borderline fanboy when it comes to Predator. I love Shane Black. I loved most of the cast. I feel like they couldn't have intentionally made a worse film. In fact, I feel like it may have been intentional sabotage by Black.


Sat Sep 15, 2018 8:16 am
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ThatDarnMKS wrote:
In fact, I feel like it may have been intentional sabotage by Black.
Why would he do that?

EDIT: Oh wait, he was in the original wasn't he? Maybe it's like the undefeated 1972 Miami Dolphins not wanting anyone stealing their thunder? I know that's a terrible analogy but it's Friday and I'm already in weekend mode.


Sat Sep 15, 2018 8:36 am
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boojiboyhowdy wrote:
Why would he do that?

EDIT: Oh wait, he was in the original wasn't he? Maybe it's like the undefeated 1972 Miami Dolphins not wanting anyone stealing their thunder? I know that's a terrible analogy but it's Friday and I'm already in weekend mode.


How else do you deal with someone that's intelligent and proves they understand the genre making something so horrendous that it seems more like a parody from Last Action Hero than a real movie? Maybe he encountered extreme production meddling from the studio and decided to give them the most transcendently slapped together assortment of bad studio ideas and cliches only for them all to be approved. Half the shit in this movie would come off as a bad joke and the other half would just come off as bad.


Sat Sep 15, 2018 10:51 am
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Rock wrote:
This is actually my first Zhang Yimou, so I can't judge the movie relative to the rest of his work.

I'm surprised you havn't seen his more popular films, like Hero or House of Flying Daggers, but his early Gong Li films are all great and highly recommended - Ju-Dou, Raise the Red Lantern and To Live especially.

OK, I'll keep my hopes up for now.


Sat Sep 15, 2018 12:24 pm
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Anurag Kashyap's Husband Material, a Bollywood romance about characters unwilling to commit to marriage, continues in the same commercial vein as The Brawler (which played TIFF last year), and while it's fairly well executed for what it is, it feels like something anybody could have directed. The Brawler was a rousing sports movie that also took a critical look at caste-based discrimination and corruption uncommon to the genre as well as a lead performance that made comparisons to Rocky a lot closer than you'd expect. This one doesn't really find twists on its material that haven't been done significantly better elsewhere (Maneesh Sharma covered similar material in Shuddh Desi Romance a much breezier and wittier movie than this one), and aside from the dancing twins that pop up in the different musical numbers, doesn't seem all that distinguished stylistically either. Amit Trivedi's music is also fairly disappointing, featuring hip hop and Punjabi influences that seem a lot more rote and tied to current trends than his previous work.

Emma Tammi's The Wind will probably be marketed as "Meek's Cutoff meets Rosemary's Baby" (the director owned up to these influences during the Q&A), but the success of the movie is how hard it leans into the first half of that comparison. The movie goes to painstaking lengths to evoke the toil and mundanity of frontier life, so that when the horror elements emerge, they unsettle through how they disrupt those pre-established rhythms and not just as mere jump scares. (There's a fairly disturbing opening, but it felt almost halfway into the movie when we get our first real scare.) I saw this on a screen normally used for IMAX viewings, and that really emphasized the vastness of the frontier environment and the isolation of the protagonists. This was part of the Midnight Madness program which tends to feature showier stuff, but this movie is underplayed and confidently directed and all the better for it (surprisingly, this is the director's first narrative feature). I'm not sure the movie sticks the landing (the ending is one big explanatory dump), but if you're able to look past that, the creeping dread of the rest of the movie makes it well worth a watch.

Henry Dunham's The Standoff at Sparrow Creek, about a close-knit militia group trying to figure out who among them is responsible for an attack on a police funeral, is another remarkably assured (narrative feature) debut. I'm sure someone will call this "Reservoir Dogs for the mass shooting era" or something awful like that, but while it does feature tough guys talking in a warehouse, its influences feel much more old school. The director cited Army of Shadows and The Friends of Eddie Coyle in the Q&A, and you can see that same kind of restraint and emphasis on character coming through here, as well as the paranoia and claustrophobic insularity of the Melville film in its depiction of an underground militia group. I think some people might have trouble with the premise, but I think the movie is aware of that queasiness and humanizes the characters without asking us to completely sympathize with them. James Badge Dale is becoming one of those actors who is effortless in playing a certain kind of masculinity while finding nuances, having instant credibility as a man of action without seeming like a meathead, and the character actors in the cast are savvy about putting us in a fairly disturbing headspace. There are missteps (another explanatory dump at the end, and a character whose dialogue seems too consciously written - the director admitted that character was the most unpleasant to write), but the shadowy visual style and strong performances make the movie come together with an almost unbearable level of tension. (I saw this one on an IMAX-sized screen as well, and its overpowering at times how much of the screen while be shrouded in darkness.)

David Lowery's The Old Man and the Gun is a fine swan song for Robert Redford, and most of the reviews I've been reading articulate its pleasures much better than I could. It's really breezy and warmly funny, which may make it seem slight but I feel like that's a lot harder to pull off than it looks. Which makes it a perfect vehicle for Redford, who I feel sometimes gets unfairly dismissed compared to a lot of others from his generation for being a lightweight and more movie star than serious actor, but aside from those claims being bogus (see: Downhill Racer and The Candidate for how he could bring the goods when asked to), they undervalue the talent involved in being a genuine movie star and making it look so easy.

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Sat Sep 15, 2018 1:19 pm
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Rock wrote:
David Lowery's The Old Man and the Gun is a fine swan song for Robert Redford

Wait. Is there something wrong with Robert Redford!?!

It's funny because All Is Lost was also called a "swan song". I think he won't be content unless he outlives Clint Eastwood.

Good news for this film though. The trailer looked a little more lightweight than I was hoping.

My own Redford confession: Uh-hem. I like Electric Horseman and Legal Eagles. So, there it is.


Sat Sep 15, 2018 1:28 pm
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He's said that this is his last movie, although it's possible he'll pull a Soderbergh.

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Sat Sep 15, 2018 1:31 pm
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Rock wrote:
He's said that this is his last movie, although it's possible he'll pull a Soderbergh.

Bah. He's just Oscar-bluffing. If he doesn't win, he'll be back.


Sat Sep 15, 2018 2:24 pm
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Jinnistan wrote:
Wait. Is there something wrong with Robert Redford!?!

It's funny because All Is Lost was also called a "swan song". I think he won't be content unless he outlives Clint Eastwood.

Good news for this film though. The trailer looked a little more lightweight than I was hoping.

My own Redford confession: Uh-hem. I like Electric Horseman and Legal Eagles. So, there it is.

Dude, I really like The Electric Horseman. Am I supposed to not?


Sat Sep 15, 2018 10:52 pm
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So...Peter Strickland still can't do a proper a three act structure for shit, but almost finds a way around it with In Fabric, which is split roughly into two segments (the first one longer than the second) and an apocalyptic ending it stumbles into sideways, but feels somewhat like a condensed sitcom season. It's a horror comedy about a sinister, possibly deadly dress, and works in part as consumerist satire, with montages that feel like avant garde parodies of commercials and Fatma Mohamed's excessively florid dialogue working as a joke on pushy salespeople. (She's the best part of the movie - I read a critic describe her performance as similar to a Simpsons guest appearance, which is a good description.) But there's stuff like a comically bad date, over-the-top workplace performance reviews, graphically sexual artwork, hypnotic descriptions of washing machine repairs and basically anything else incidental to the premise that Strickland can milk for laughs by channeling what's essentially sitcom material through an exacting giallo-influenced style. In that sense, it reminded me of Steven Soderbergh's Schizopolis, a comedy with satirical ideas governed more by an overarching sensibility than a coherent point. (This is significantly less anarchic, however.) I heard one critic accuse it of misogyny, which I don't think is fair (the most empathetic character is female and the movie takes shots at plenty of men as well), but unlike Berberian Sound Studio and The Duke of Burgundy we're not asked to really invest in the fates of the characters. Yet through this detachment and the corresponding looser structure, the movie feels much more cohesive than Strickland's previous films. Where Berberian Sound Studio ended by pulling out a rug you only had one foot on and The Duke of Burgundy montaged its way through a crucial emotional arc, the inane squabble that sets off the ending feels consistent with the hijinks that came before and results in an ending that's probably as close as Strickland has gotten to sticking the landing.

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Sun Sep 16, 2018 7:31 am
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Wooley wrote:
Dude, I really like The Electric Horseman. Am I supposed to not?

It's rarely mentioned, and when it is, it's usually dismissed as fluff. Same with Legal Eagles, despite a formidable Debra Winger and, again, that effortless Redford charisma.


Sun Sep 16, 2018 10:45 am
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Jinnistan wrote:
It's rarely mentioned, and when it is, it's usually dismissed as fluff. Same with Legal Eagles, despite a formidable Debra Winger and, again, that effortless Redford charisma.

It may be fluff, but there's good fluff and other fluff and it was good fluff.
I have to admit I did not think so much of Legal Eagles.


Sun Sep 16, 2018 12:54 pm
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Wooley wrote:
It may be fluff, but there's good fluff and other fluff and it was good fluff.
I have to admit I did not think so much of Legal Eagles.

I've never seen Legal Eagles, but it's forever been tainted for me by Rod Stewart's god-awful "Love Touch" video.

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Sun Sep 16, 2018 12:58 pm
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Captain Terror wrote:
I've never seen Legal Eagles, but it's forever been tainted for me by Rod Stewart's god-awful "Love Touch" video.

It only plays over the closing credits though.


Sun Sep 16, 2018 1:08 pm
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I just finished Upgrade (and many thanks to Death Proof for putting this one on my radar).

I really liked it. The plot follows a mechanic, Grey, whose wife is killed in a bizarre robbery during which Grey is also paralyzed. One of Grey's clients, an eccentric tech billionaire type, offers Grey the chance to test run an implant that will allow him control of his body again. The implant, Stem, talks to Grey, is able to take over control of Grey's body, and the two work together to track down the men who killed Grey's wife. Stem is particularly brutal in his methods, and Grey must ask himself if it's a price worth paying to avenge his wife.

I really enjoy Logan Marshall-Green (who I first really clued into after his lead role in The Invitation), and he does a good job with both the emotional and physical elements of the role. Betty Gabriel (playing the obligatory cop trying to figure it all out) is also really good and adds a much needed humanity to the proceedings. The action sequences are engaging (and graphically violent). The plot went a few places that I was not anticipating, and it kept me in suspense pretty much the whole way through. Now, close your ears if you don't like gender discussion, but it's really rare to watch an action film that doesn't feel the need to throw in a graphic sex scene, or stage a sequence in a strip club, or something of that nature. By both digging deep into the ethics of the situation and avoiding such pandering, I felt like the film put itself at a level where I was able to take it a lot more seriously.

My only real criticism of the film is that I wish it had gone deeper into the characters. Both Grey and the detective are resistant of the digital future--both of them preferring hands-on, analog to the computer controlled environment around them. I would have maybe liked a little more about that. There's also a hacker character that I feel could have given more insight into how this future actually works, but aside from a few quips about being non-binary, the character just came in, served a plot function, and left. I also left the film a little confused about the exact nature of the bad guy's big plan. I mean, I understood a good chunk of it, but I was left with quite a few questions at the end.

This was a great Sunday afternoon actioner.


Mon Sep 17, 2018 4:44 am
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I also watched Ocean's 8 which was, ugh, so disappointing.

I thought that it looked great and I LOVE each and every one of the cast. But the writing---oof! At the 40 minute mark I was like "Man, not a single memorable line of dialogue yet!". The charisma of the actresses went a ways toward making up for it (Kaling and Awkwafina especially), but the film was just bland and the characters were woefully underdeveloped.


Mon Sep 17, 2018 9:59 am
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