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 The Random Thoughts Thread 
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Stu wrote:
Um, what the heck did I just witness?

I've seen this before, it's supposed to be a short film about what someone imagines you see before death


Tue Oct 17, 2017 12:10 pm
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Joss Whedon wrote:
I've seen this before, it's supposed to be a short film about what someone imagines you see before death
It's pretty messed up shit, huh? That concept of an actively hateful, nihilistic afterlife, that everything's all for naught, just freaks the absolute crap out of me, to be perfectly honest with you.

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Tue Oct 17, 2017 12:15 pm
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Stu wrote:
It's pretty messed up shit, huh? That concept of an actively hateful, nihilistic afterlife, that everything's all for naught, just freaks the absolute crap out of me, to be perfectly honest with you.[/quote
It's a despairing way to look at the whole universe, maybe it's right and we're all floating in a cold, indifferent void, but subconsciously I do hope that there is some point to existence.


Tue Oct 17, 2017 1:58 pm
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Ever since a friend recommended that short to me a while back, I've grown a huge attachment to it ever since. It's so dark and disturbing, but in a compelling and creative way.

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Wed Oct 18, 2017 3:46 am
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But you're only 17. Probably still bizarrely fascinated with the idea that you'll have to die someday, but still feeling so good overall that it seems really abstract and impossible. At least that's how I was when I was 17. In fact, that summer was the only time in my life that I regularly slept until 11 a.m. each morning. One summer morning I awoke from a nightmare and I remember that I was crying into my pillow and murmuring, "Why was I born if I'm only going to have to die?" as if it were an accusation against the Universe.

Is the short anything like that sort of nihilistic? If so, then I've already seen it without watching it. ;)

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The Future Unreels


Wed Oct 18, 2017 11:16 am
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Actually, I turned 18 on August 23rd.

Anyways, I sometimes think about death and what the afterlife has in store for me. I use to be a devout Christian when I was younger (probably because my parents were and still are Christians), but now, I'm not sure what I believe in. I haven't really been firm on a particular religion for quite some time. Despite this, I like seeing representations of the afterlife in media, especially dark ones (in fact, Enter the Void is one of my favorite films of the 2000's). It's fun to see the amount of absurd creativity that goes into them. Also, they tend to connect with me quite a bit.

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Wed Oct 18, 2017 11:55 am
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I was taken to church regularly until I was 16, when I left the Southern Baptist church that I had joined along with my family. Knowing only the Baptist church, I figured I'd find nothing different, and decided that God is nothing but a figment of human imagination and fear.

From 16 to 34 I was atheist and then agnostic.

At 34 I joined a Christian Church (Disciples of Christ) congregation. Until that time I had thought all churches were alike. I'm still a member of that denomination where I am free to say that I am an Agnostic Christian, not sure that what I believe is true. And I even work for the congregation where I attend. It is so unlike the Southern Baptists that it's hard to believe it's the same general religion.

I trust that you will be fine in your walk through life. You may know only generally what you believe as time goes by. You'll think it all through.

And representations of the afterlife are fun in films and novels. I wrote Omri the Visitor as a fanciful exploration of one possible afterlife. Not twisted and gnarly, but--well the book is for readers of all ages.

One possibility about the afterlife is that we simply cannot imagine while alive that this state of being could ever totally vanish. I don't know whether it does or not.

But I wrote a short story when I was 16 that had a guy get injured, be taken to the ER, get operated on, then rise up toward a bright light, and see Jesus, and loved ones who had died before, and then he continued to rise toward the light until it engulfed him. And then the surrounding light began to diminish until it went out like the old CRT television did with a little dot center of the screen that fades to black after a few seconds. His spirit is no more. He is gone. And at the end of the story the attending surgeon says, "Time of death is 10:42 pm."

:D

I thought that was ironic and cool when I was 16.

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And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

Rematch Resurrection Catalog for Rounds 1-4 New post 180721 -- YTMN's Remake Rematch Thread.
Thread Resurrected 21 Jul 2018. Thread abandoned 1 Aug 2017. Thread COMPLETE 25 May 14 (2d time!)
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The Future Unreels


Wed Oct 18, 2017 1:18 pm
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Popcorn Reviews wrote:
Ever since a friend recommended that short to me a while back, I've grown a huge attachment to it ever since. It's so dark and disturbing, but in a compelling and creative way.
That being said, though, the goal of the creatures in the short felt unclear to me:
I mean, are they punishing the guy for failing to save the lives of certain people in his life, or for mistakenly believing that his life held some sort of purpose? I think the latter option is a much more interesting,
original take on the afterlife then the traditional "you get punished or rewarded according to all the good or evil you did (or didn't) do in your life", but if that's the case, then the fact of him failing to save those people is just a red herring, and the creatures should have no interest in that, if they're just going to punish him anyway.


Seems like something the creator should've ironed out in the rough-draft stage, y'know?

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Sat Oct 21, 2017 6:15 am
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Stu wrote:
That being said, though, the goal of the creatures in the short felt unclear to me:
I mean, are they punishing the guy for failing to save the lives of certain people in his life, or for mistakenly believing that his life held some sort of purpose? I think the latter option is a much more interesting,
original take on the afterlife then the traditional "you get punished or rewarded according to all the good or evil you did (or didn't) do in your life", but if that's the case, then the fact of him failing to save those people is just a red herring, and the creatures should have no interest in that, if they're just going to punish him anyway.


Seems like something the creator should've ironed out in the rough-draft stage, y'know?

I feel like the film's point is to have you theorize on the minimal information provided about where he is/what's going to come of him.
Perhaps, the interview is there to test how he deals with his pent up emotions and how well he's able to let go of his past troubles, and depending on how he reacts could leads him to his next 'job' (that's not to say that he'll be given a torturous job though). Although, I'm sure there are other interpretations one could have for it. This is just my take. Anyways, I loved this short, because it has a great concept, great visuals, and great sound design.

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Mon Oct 23, 2017 12:20 am
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I think the film's point is to express the point of view that we don't know jack about any afterlife there may be.

But we certainly have opinions.

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And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Thread Resurrected 21 Jul 2018. Thread abandoned 1 Aug 2017. Thread COMPLETE 25 May 14 (2d time!)
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The Future Unreels


Mon Oct 23, 2017 4:40 am
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Popcorn Reviews wrote:
I feel like the film's point is to have you theorize on the minimal information provided about where he is/what's going to come of him.
Perhaps, the interview is there to test how he deals with his pent up emotions and how well he's able to let go of his past troubles, and depending on how he reacts could leads him to his next 'job' (that's not to say that he'll be given a torturous job though). Although, I'm sure there are other interpretations one could have for it. This is just my take. Anyways, I loved this short, because it has a great concept, great visuals, and great sound design.
Yeah, the visuals, mood, and ultimate message of it were all pretty disturbing stuff; whoever made it should think about trying to make the leap into full-length films someday (possibly also an animated horror deal), I think.

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Mon Oct 23, 2017 4:52 am
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Stu wrote:
Yeah, the visuals, mood, and ultimate message of it were all pretty disturbing stuff; whoever made it should think about trying to make the leap into full-length films someday (possibly also an animated horror deal), I think.

I checked out his youtube account out of curiosity. He has quite a few disturbing videos on it. Here's a few of them. The first and third ones are songs and the middle one is some weird sort of mock documentary of some kind (I really don't know what to call it).





Here's his account.

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Mon Oct 23, 2017 6:12 am
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Hey Pops, I just checked out the favorite films list in your signature, and on a theoritical full list of my own favorites, out of the ones I've seen from your's, I would leave out A Clockwork Orange, The Killing, Taxi Driver, In A Lonely Place, Children Of Men, & The Thing; not to suggest that they aren't all still good movies in their own right, just that I never quite liked them enough to kill any of them favorites. On the other hand, 2001, Saving Private Ryan, and possibly also One Flew Over The Cuckoo's Nest (I only saw it once a decade ago, so I'm overdue for a rewatch) would all probably be shoe-ins for my own full list, in the future. As things stand now, I only have a couple of films I consider near-perfection on my own Letterboxd list of favorites because I only add movies once I've finished my review of them, which takes a while, especially since I've started going to the theaters a lot this year to review current releases, but I am still working on reviewing my old favorites, including a work-in-progress review of WALL-E soon. Anyway, check it out!

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Tue Nov 14, 2017 1:33 pm
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Stu wrote:
Hey Pops, I just checked out the favorite films list in your signature, and on a theoritical full list of my own favorites, out of the ones I've seen from your's, I would leave out A Clockwork Orange, The Killing, Taxi Driver, In A Lonely Place, Children Of Men, & The Thing; not to suggest that they aren't all still good movies in their own right, just that I never quite liked them enough to kill any of them favorites. On the other hand, 2001, Saving Private Ryan, and possibly also One Flew Over The Cuckoo's Nest (I only saw it once a decade ago, so I'm overdue for a rewatch) would all probably be shoe-ins for my own full list, in the future. As things stand now, I only have a couple of films I consider near-perfection on my own Letterboxd list of favorites because I only add movies once I've finished my review of them, which takes a while, especially since I've started going to the theaters a lot this year to review current releases, but I am still working on reviewing my old favorites, including a work-in-progress review of WALL-E soon. Anyway, check it out!

Thank you for checking out my list. I'm also glad that you're a huge fan of SPR. I sometimes feel alone when I talk about how great I think it is. I've heard some people on RT say The Thin Red Line is a better film, but I still prefer SPR over it. The Thin Red Line is a good film, but it could've been much better.

Out of curiosity, are there any films on my list which you haven't seen yet? If so, which ones are they? As for your list, I haven't seen In Cold Blood and Unforgiven. As for the other 4 films, however, I rated them 9/10, meaning that I would give them recognition in a "Best Movies of All Time" list (I think I told you this before on RT, but my rating system has gotten much stricter over time; I've only given 16 10/10's so far).

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Thu Nov 16, 2017 5:30 am
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Popcorn Reviews wrote:
Thank you for checking out my list. I'm also glad that you're a huge fan of SPR. I sometimes feel alone when I talk about how great I think it is. I've heard some people on RT say The Thin Red Line is a better film, but I still prefer SPR over it. The Thin Red Line is a good film, but it could've been much better.

Out of curiosity, are there any films on my list which you haven't seen yet? If so, which ones are they? As for your list, I haven't seen In Cold Blood and Unforgiven. As for the other 4 films, however, I rated them 9/10, meaning that I would give them recognition in a "Best Movies of All Time" list (I think I told you this before on RT, but my rating system has gotten much stricter over time; I've only given 16 10/10's so far).
I've never actually seen Thin Red Line, though I've heard plenty of great things about it, so I do want to eventually. Anyway, it's been a while since I've seen Private Ryan, so I can't be sure that it'll hold up exactly as well as it did when I first saw it as a 16 year-old, but still, at the time it become an instant favorite of mine as soon as the credits started rolling, so I am hoping it'll stay that good for me whenever I check it out again.

Anyway, I haven't seen any of the films I didn't comment on in my initial response (I know, I know, I've got some catching up to do), and as for the 2 on mine you haven't seen, Unforgiven's a great pick if you're looking to catch up on Best Picture winners (as well as just if you're in the mood for a great, classic revisionist Western, one that almost feels like the last Western movie anyone should've made, really), while In Cold Blood is an strong, intense Capote adaptation, and an underrated, ahead of its time classic from one of the most important years in cinema history; check 'em out!

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Mon Nov 20, 2017 1:52 pm
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Favorite SPR moment:

"Am I a good man?"

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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

Rematch Resurrection Catalog for Rounds 1-4 New post 180721 -- YTMN's Remake Rematch Thread.
Thread Resurrected 21 Jul 2018. Thread abandoned 1 Aug 2017. Thread COMPLETE 25 May 14 (2d time!)
Images will disappear about 13 Feb 2018 forever. (Except they didn't)
I had fun. Thanks for reading!

The Future Unreels


Wed Nov 22, 2017 11:22 am
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Stu wrote:
I've never actually seen Thin Red Line, though I've heard plenty of great things about it, so I do want to eventually. Anyway, it's been a while since I've seen Private Ryan, so I can't be sure that it'll hold up exactly as well as it did when I first saw it as a 16 year-old, but still, at the time it become an instant favorite of mine as soon as the credits started rolling, so I am hoping it'll stay that good for me whenever I check it out again.

Anyway, I haven't seen any of the films I didn't comment on in my initial response (I know, I know, I've got some catching up to do), and as for the 2 on mine you haven't seen, Unforgiven's a great pick if you're looking to catch up on Best Picture winners (as well as just if you're in the mood for a great, classic revisionist Western, one that almost feels like the last Western movie anyone should've made, really), while In Cold Blood is an strong, intense Capote adaptation, and an underrated, ahead of its time classic from one of the most important years in cinema history; check 'em out!

I still recommend watching The Thin Red Line. I'd put it into the "It could've been a masterpiece if they had changed one thing" category along with The Good, The Bad and the Ugly and There Will Be Blood. I recommend the other films on my list which you haven't seen. I'll make sure to check out the 2 on your list which I haven't seen yet. Since I'm on Thanksgiving break, I should have more than enough time to watch them.

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Wed Nov 22, 2017 11:53 am
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Double post: Uh, Stu, what just happened to RT?

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Wed Nov 22, 2017 12:27 pm
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Popcorn Reviews wrote:
I still recommend watching The Thin Red Line. I'd put it into the "It could've been a masterpiece if they had changed one thing" category along with The Good, The Bad and the Ugly and There Will Be Blood. I recommend the other films on my list which you haven't seen. I'll make sure to check out the 2 on your list which I haven't seen yet. Since I'm on Thanksgiving break, I should have more than enough time to watch them.
Glad to hear you'll try to check out the rest of my list, and I myself will try to check out TTRL when I'm in the mood for it. Anyway, out of the sake of curiosity, what are your issues with There Will Be Blood & GBU? Especially GBU, since it is one of my favorite movies ever...
:oops:

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Fri Nov 24, 2017 10:59 am
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Stu wrote:
Glad to hear you'll try to check out the rest of my list, and I myself will try to check out TTRL when I'm in the mood for it. Anyway, out of the sake of curiosity, what are your issues with There Will Be Blood & GBU? Especially GBU, since it is one of my favorite movies ever...
:oops:

Paul Dano annoys me in There Will Be Blood. The more I watch the film, the more this aspect bothers me. He simply didn't hold up to Daniel Day-Lewis's magnificent performance.

As for GBU, despite the fact that the film has 3 main characters, the film mainly focused on 2 of them: Blondie and Tuco. I felt like Angel Eyes should've been in the movie more, because his character seemed underutilized.
On a side note, I've heard some people say that the Mexican standoff near the end of GBU is one of the most suspenseful film scenes of all time. I, however, did not feel much suspense at all during that scene, because since Blondie and Tuco were in the movie much more than Angel Eyes was, I predicted that he would be killed off.

So, again, both are really good films, but these 2 issues prevent me from considering both of them to be masterpieces.

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Fri Nov 24, 2017 11:36 am
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Popcorn Reviews wrote:
Paul Dano annoys me in There Will Be Blood. The more I watch the film, the more this aspect bothers me. He simply didn't hold up to Daniel Day-Lewis's magnificent performance.

As for GBU, despite the fact that the film has 3 main characters, the film mainly focused on 2 of them: Blondie and Tuco. I felt like Angel Eyes should've been in the movie more, because his character seemed underutilized.
On a side note, I've heard some people say that the Mexican standoff near the end of GBU is one of the most suspenseful film scenes of all time. I, however, did not feel much suspense at all during that scene, because since Blondie and Tuco were in the movie much more than Angel Eyes was, I predicted that he would be killed off.

So, again, both are really good films, but these 2 issues prevent me from considering both of them to be masterpieces.
I get that about Dano, as he is a bit over-the-top and whiny in it, isn't it? His performance never hurt the film for me personally, but I can get how it could for others, like how annoying Edward Furlong is in T2 hurts that film significantly for me. Anyway, I've never minded how little Angel Eyes was in GBU, since he is the bad guy, after all, and not as "normal" a character as the other 2, so it never bothered me. To each his own!

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Fri Nov 24, 2017 1:16 pm
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Stu wrote:
Anyway, I've never minded how little Angel Eyes was in GBU, since he is the bad guy, after all, and not as "normal" a character as the other 2, so it never bothered me. To each his own!

It's fine if you don't mind that. However, I just want to point out that many bad guys are major characters in their films.

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Fri Nov 24, 2017 1:25 pm
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Popcorn Reviews wrote:
It's fine if you don't mind that. However, I just want to point out that many bad guys are major characters in their films.
Yes, but it doesn't bother me specifically in GBU, because I've never felt that the film was missing anything by not focusing more on his character. Some films feel like they're missing a certain something to push them over the top for me, but The Good, The Bad, And The Ugly was never one of them, whether it be because of lacking more Angel Eyes, or anything else for that matter.

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Fri Nov 24, 2017 1:35 pm
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Stu wrote:
Yes, but it doesn't bother me specifically in GBU, because I've never felt that the film was missing anything by not focusing more on his character. Some films feel like they're missing a certain something to push them over the top for me, but The Good, The Bad, And The Ugly was never one of them, whether it be because of lacking more Angel Eyes, or anything else for that matter.

Well, like you said, to each their own. You know where I stand.

Anyways, as for Unforgiven and In Cold Blood, I might post what I think of them here after I watch them.

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Fri Nov 24, 2017 1:56 pm
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Popcorn Reviews wrote:
Well, like you said, to each their own. You know where I stand.

Anyways, as for Unforgiven and In Cold Blood, I might post what I think of them here after I watch them.
That'd be cool, but if you feel like you need some time or another viewing in order to get your thoughts properly figured out on them, feel free; I'd rather wait longer for some good movie discussion then see it rushed out of any sense of any obligation, so you'll get no pressure from me on that front.

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Fri Nov 24, 2017 1:59 pm
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Post http://wirthling.com/forum

dunno what all this fucken coriander bullshit is but I signed up anyway.




*edit wft I can't even post pictures here? What sort of belsen ballsacked bollox is that? Pictures are my raisin du entree ffs

ps Wirthling, a foreign cunt, has a flash new forum at http://wirthling.com/forum/ so all you disenfranchised Rotten Tomatoes refugees can stop packing a giant sook now and reconnect with those old pricks from back in the day 2 weeks ago


Mon Dec 11, 2017 12:37 pm
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Sprague Dawley wrote:
dunno what all this fucken coriander bullshit is but I signed up anyway.




*edit wft I can't even post pictures here? What sort of belsen ballsacked bollox is that? Pictures are my raisin du entree ffs

ps Wirthling, a foreign cunt, has a flash new forum at http://wirthling.com/forum/ so all you disenfranchised Rotten Tomatoes refugees can stop packing a giant sook now and reconnect with those old pricks from back in the day 2 weeks ago
you can post pictures, just wrap the image url in the code things

where are the posters in that forum, what snake oil is this


Mon Dec 11, 2017 12:43 pm
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Wouldn't Kateland make more sense as a spin-off forum for OT, since, y'know... there are actually some people there?

:shifty:

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Mon Dec 11, 2017 12:53 pm
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Tom Breihan finally just finished A History Of Violence on The AV Club, which is his series of articles on the most important films in the history of the Action movie, year-by-year, for the last half century (and no Evil, A History Of Violence itself is not on his list). And, since I like Action movies so much, and enjoyed following his writing so much over the past couple years he's been running, but, even the things we love are not without flaws, I'd like to write in here my list of disagreements (both minor, and major) with some of the choices he made for his series (incoming wall of text alert!):

My first bone to pick with his list comes at the very beginning, with his decision to start with Bullitt in '68, though that isn't because I consider that film to be more of a Police Thriller that happens to contain one particularly memorable action scene, rather than being a full-blown Action movie in its own right (Where Eagles Dare from the same year fits that bill much better, and Tom apparently agrees with me on, at least a subconscious level, seeing as about half of his article seems to be about the film's admittedly legendary car chase, though that's just nitpicking on my part). Rather, my beef with this choice isn't with the movie he choose, but the year; that being, I feel he should've started the series in '67 with The Dirty Dozen. Granted, it's another example of something that's more of a movie with one significant action scene in it, rather than being an out-and-out Action movie, but I feel the final raid in TDD is just as exciting as the chase in Bullitt, if not moreso, and more over, it's more integral to the story as its the actual climax of the film, and not just some incidental action in the middle of the actual plot, as Tom himself admits. I get that he wanted to start his series off with as iconic a film as possible, but The Dirty Dozen is at least almost as influential a film as Bullitt, if not as influential, and if you have another well-recognized film you could easily fit into your series no problem, why wouldn't you?

After that, I agree with every one of his choices until '79, when he wrote about The Warriors instead of the original Mad Max; now, The Warriors is a good Action movie, and would've been a fine choice for plenty of other years, but not for the year of Mad Max. I mean, SO many post-apocalyptic works released since then have so obviously taken after MM (and the rest of the Max series in general, really), that how can you argue that The Warriors was a more influential Action movie? Like I said, it's definitely a good movie, but there's just no way you can call it more important than Mad Max, no freaking way, which leads me to my next disagreement, about The Road Warrior.

Now, I agree with Tom's decision to go with Raiders Of The Lost Ark for '81 (I mean, how could you not?) and, while if I were writing the list, I would've cheated a bit and counted the American release date of The Road Warrior so I could write about it for '82, I did respect Tom's original decision not to blur the lines like that, and to make the hard choice of sacrificing TRW... that is, until later in the series, when he cheated on original release dates for 2012 (but we'll get to that in a minute), so that's completely out the window now. I mean, there are plenty of years that First Blood would deserve first place, but not when you can cheat a bit and put Road Warrior in instead, which is arguably the more influential film. And, Tom wrote about Rambo 2 for '85, which he himself admitted is the entry that presented the screaming, cartoonish, red bandanna-wearing/one-handed machine gun firing Rambo, the version of the character that popular culture actually remembers, as opposed to the much more subdued portrayal in the original, so there's just no need to put in two Rambos on the same list. It's a miracle that Fury Road came out recently, so he finally had no more excuses to avoid writing about a Mad Max movie, because otherwise, that's just a damn travesty of Action movie justice.

And from there, I have to disagree with his decision to write about Crouching Tiger, Hidden Dragon, which is incredibly difficult for me to do, since Tiger was the first movie I ever truly loved, and to this day, might still be my #1 (I need to rewatch/review it soon). Objectively, it made a huge critical/commercial splash (especially for a foreign-language release), and was undeniably influential in bringing Chinese wuxia action to mainstream American audiences... but, Gladiator was arguably influential in bringing period swords-&-sandals- epics somewhat back in vogue as well, and more importantly, is arguably the closest thing to a pure Action movie the Academy has ever given a Best Picture award to (albeit, delivered alongside a heavy dose of tragic melodrama and Roman Empire palace intrigue, but still). So, this was definitely the toughest disagreement of the list for me to make, but still, for that Oscar win alone, I'd have to go with Gladiator for 2000.

Anyway, I might have written gone sci-fi/action for 2002, and written about Minority Report instead of The Bourne Identity (influence aside, Identity's critical reception wasn't really all that hot), but this one is definitely the smallest of my complaints about the list, so don't pay it much mind; pay more mind, instead, to him choosing 300 for 2007 rather than The Bourne Ultimatum. Now, 300 certainly made a splash when it came out; it has plenty of memorable, green-screened visuals, quotable lines, and iconic moments, and it made plenty of $, especially for an R movie... the thing is, it didn't make much of a splash as an Action movie. Its battle scenes are more memorable for the visual effects and obnoxious slow/fast speed rampings than any actual exciting stunts, and The Bourne Ultimatum arguably THE most important film in that entire series, in both a critical, commercial, and casual filmgoer-response sense. I mean, Tom did write articles for Identity & Supremacy both, and I get not wanting to write so much about the same series, but that still doesn't make Ultimatum not the most important Action movie of that year, by a significant margin. Part of me wonders if he partly wrote about it so he could fit some more anti-Trump material into the series (which our "President" does deserve, but in the right place at the right time, darn it) At least the commenters on that article were able to alert Tom to its actual release year not being '06 at the last minute, so he could talk about Casino Royale instead, but still, 300 being on the list at all is just silly to me.

Finally (finally!), we come to 2011, where Tom lost some respect from me by choosing to cheat on the release date (which is something he previously claimed he would never do) for The Raid, so he could write about, of all things... Fast Five instead, and, in the process, cheated Dredd for 2012. Five was a big hit, admittedly, and probably the most important film in the F&TF series in that it established the new style that the recent entries have imitated, but that doesn't it make a more important Action movie than The Raid, which I heard SO much more fan buzz about that year. At least he did write about that one for the next year, but how was it worth it to cheat on the date so you can put in Fast Five and not talk about Dredd, which was such an unexpected cult Action hit that year? Besides, he already wrote about the original Fast & The Furious for 2001, so why revisit the series in this instance? It makes no sense.
Anyway, so that's every one of my beefs with A History Of Violence, which I hoped didn't put you off of reading the series itself; it was a great ride to follow year after year, and probably my favorite limited-run article series to ever be shared on The AV Club, which is saying something. Like I said way up there at the beginning of this post (somewhere around the Moon, by this point), it's because I love the series so much that I wrote so much about my occasional difference of opinion with it, and how it could've been even better than it already was, and even the articles for the years I feel Tom was wrong on are still very much worth reading. At anyway rate, I hope you enjoyed reading this Great Wall Of Textna as much as I did writing it; not likely, I know (assuming anyone actually reads all of this), but hey hey hey, come what may.

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Tue Dec 19, 2017 6:28 am
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Quick question: Does anyone know where I can stream/download the original 2½ hour cut of Apocalypse Now, because all I'm ever able to find online is the redux version.

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Tue Dec 19, 2017 12:37 pm
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Popcorn Reviews wrote:
Quick question: Does anyone know where I can stream/download the original 2½ hour cut of Apocalypse Now, because all I'm ever able to find online is the redux version.
It's on Amazon Instant, isn't it?

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Tue Dec 19, 2017 12:55 pm
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failing that, you could always see if it is carried by your public library.


Tue Dec 19, 2017 1:49 pm
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Heh, I actually saw the Redux first.

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Tue Dec 19, 2017 2:08 pm
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What I mean to ask is: Do you guys know of any sites I can stream/download it for free?

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Wed Dec 20, 2017 4:48 am
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I don't. personally my own "rule" is to only download movies I can't find through legal means. I still want to support the legit streaming sites when I can.


Wed Dec 20, 2017 11:44 am
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With the relative box office disappointment of the moderately entertaining but fundamentally disposable Solo, it's becoming more and more evident to me that Disney has kind of messed up the current Star Wars films by making them so overly reliant on nostalgia, both in the main episodes and the stand-alone stories; doing one or the other could have worked out, but having both kinds of SW entries rely so much on blatant fan service, unnecessary backstories, and repeating elements from the original trilogy just isn't a winning strategy in the long run, neither in the creative or financial sense. If it was up to me, I'd try to hire someone who's proven themselves as a great director, someone who has a vision for their films, and then give them as much free reign as possible to reinvent their entry in the series in their own image, like an (early 2000's-era) Peter Jackson, Nolan, or George Miller, instead of starting the new series off with someone who's entertaining but perpetually stuck in the past like JJ. It may be riskier at first, yes, but it's also risky to burn audiences out with too much nostalgia too fast, which is what's currently happening with the franchise anyway, so what do they have to lose by being more ambitious with the series again?

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Tue Jun 26, 2018 10:22 am
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I'm wondering if reverence for those original Star Wars movies makes it hard to want to take in new directions. I can remember as a kid playing Star Wars meant reenacting what I had already seen in the movies so I can relate my own experience how SW can cap one's imagination. Star Wars itself is already kind of a recycle of pop culture imagery (in space!) so I dunno if it's just making sure the pop culture you recycle isn't itself the previous Star Wars movies. 'cause those original movies were very much infused with nostalgia so I dunno if you still need that to be Star Wars-y.

I was never big into the EU so I dunno if they provide any good examples to diverting from the core Star Wars ethos i.e. just how much latitude is in this IP anyway? although even if they did, those works didn’t have to recoup a movie-sized budget or placate a movie-going-sized audience either. it’s not like they made The Courtship of Princess Leia into a movie is what I’m saying.


Tue Jun 26, 2018 12:11 pm
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Oxnard Montalvo wrote:
I can remember as a kid playing Star Wars meant reenacting what I had already seen in the movies so I can relate my own experience how SW can cap one's imagination.

I dunno. I don't remember in the OT having a bunch of superheros and yo! joes teaming up with Ben and Vader to protect themselves from the debris caused from a mountain (bed) battle between Skelator and Shockwave. But obviously we wouldn't want to see a film of this, or else we'd end up with some kind of shitty Spielberg-coma about VR in the future with a plot designed like an 8-bit video game and probably even written by someone who'd most likely blow their advance on something stupid like a Deloreon. (We are the worst generation.)

As for the anthology film potential, I definitely got more action out of my Bossk and Ponda Baba than anything evident from the films.


Tue Jun 26, 2018 1:34 pm
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I mean maybe not everyone's childhood experience with Star Wars was as a junior historical reenactor. but it was something that came back to me after watching TFA and wondering if Abrams saw the franchise as too sacred to defile (and found it too tempting to recreate many of the original's images himself).

I thought Reverse Shot had a good take on the Problem with Disney's Star Wars in their review for TFA (as I've found myself echoing it from time to time):

"That a Star Wars film functions as a recycling machine is hardly out of character, but what began, in Lucas’s first incarnation, as a fantasyland cobbled together from outside sources (Buck Rogers, King Arthur, Akira Kurosawa, Silent Running, Triumph of the Will) now mostly borrows from inside of its own world. There’s still some old Hollywood hokum bleeding through the burgeoning Luke and Han-like friendship between Poe and Finn in The Force Awakens, and there’s generally more original trilogy-grade nostalgia to this installment than in Lucas’s prequels, which, with their enthusiasm for advanced digital effects and realizing their maker’s previously impossible dreams, were more forward focused. I kept waiting for a moment that would bring meaning to this feeling of infinite return, a forceful indicator that there’s philosophical depth to these echoes through generations of trilogies and the viewers who love them. But it never arrived, at least not to my satisfaction. There’s no idea behind the new film’s echoes of the past, outside of making those echoes feel pleasurable—be they Ford’s begrudging summoning of his Solo-era charms, the brassy triumphalism of John Williams’s transporting score, or the perennial joys of robots cavorting with a man in a bear suit. Abrams brings to this film more humanity, and a greater appreciation for his performers, than Lucas managed for all three of the prequels combined. That goes a long way toward making his entertainment click, and furthermore toward making us care. I’m just not sure what we’re caring about, other than the furtherance of Star Wars itself.

"For all of its sins, which are very, very, very, very many, The Phantom Menace had a captain, and it was fueled by ideas. Well over a decade after he concluded the original trilogy, Lucas had a vision for what revisiting this universe he had drummed up might look and feel like with the benefit of digital technology, and had a slew of new notions for how to populate and define it. They weren’t particularly good ideas. In fact they were mostly bad, dramatically inert, visually ossified ideas, filled with inexplicable logic, deadening self-seriousness, misunderstandings and mishandlings of what made his own creation compelling, bad writing, worse directing, floundering acting, and endless expository passages about taxes, senates, and genetics. It was like watching a magician listlessly explain what’s awesome about the art of illusion without making magic happen anew. Yet the films emerged from the inside out, and its maker worked passionately to realize them. After abstaining from directing and writing for over two decades, he wrote, directed, produced and financed all three movies. That he became the problem in most estimations—that he shouldn’t have directed, he shouldn’t have written, he should have let other voices and ideas challenge his own—points to a failure in execution, but not in provenance, nor in integrity. That you could blame Lucas for the failings of those movies only proved how much they belonged to him.

"By contrast, The Force Awakens belongs to a corporation. It is a product meant to make good on an investment. Disney purchased a property from Lucas, and made a movie related to that property in order to start recouping its outlay. The best way to recoup that outlay was to very carefully and deliberately court and flatter a fan base that has kept the Star Wars brand popular for 38 years and counting; to guarantee that no floppy-eared CGI alien minstrel show will embarrass and shame everyone in sight, that there will be no bogged-down weirdness about midi-chlorians or intergalactic trade agreements, no thespians in bathrobes barely tolerating pantomiming swordplay in front of a green screen (disregarding the fact that those missteps still led to a half-billion box office haul in 1999); to make certain that this new thing is nothing but a sure thing; to make this corporate product at least seem like a public trust—counteracting Lucas’s failure to understand that this is what his creation had evolved into, in effect if not in actuality. There’s no WTF in The Force Awakens because WTF can’t be afforded. It’s smart business, but it’s not an idea—quite the opposite, actually. First comes economics, and then you hired some artists, and then, maybe, you make some art. Any ideas or inspirations come further down the line, in whatever any of the participants might bring to certain aspects of the enterprise. None of this need invalidate what the film winds up being, but it does inform, and to a large degree define it."


Tue Jun 26, 2018 2:27 pm
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And, as for the stand-alone "Star Wars" stories, I don't mind getting a backstory on stealing the plans to the Death Star (especially not when it's as entertaining as Rogue One), or character origin films for Han, Boba Fett, or maybe even Obi-Wan, but I'd prefer it they came with every other "Star Wars story", and see Lucasfilm use the rest of the time to give us something more original, something with completely new storylines and characters as unconnected to any previous film as possible, and eventually even explore other genre-takes on the franchise, like something more dramatic or comedic, to keep things fresh. Maybe they could do the Marvel thing and introduce great new spin-off characters somehow in the main episodes, and then give them their own film. Heck, even a relatively straightforward adaptation of the Thrawn trilogy or other works from the EU would be cool at some point, as long as they're as good as their source materials, y'know? Just anything to change the course of the franchise from the entertaining but utterly safe, uninspiring direction they've taken with it so far.

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Wed Jun 27, 2018 12:13 pm
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since this is Random Thoughts thread, if Lucasfilm gave you a buttload of money to pitch a Star Wars spinoff what would you do?

I'm thinking a Untouchables-style movie with Jabba in the Al Capone role. it's not an origin story just a crime thriller involving the Imperials trying to seize control of the Hutt's turf. maybe Thrawn can be party to that why not


Wed Jun 27, 2018 3:20 pm
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Oxnard Montalvo wrote:
since this is Random Thoughts thread, if Lucasfilm gave you a buttload of money to pitch a Star Wars spinoff what would you do?

I'm thinking a Untouchables-style movie with Jabba in the Al Capone role. it's not an origin story just a crime thriller involving the Imperials trying to seize control of the Hutt's turf. maybe Thrawn can be party to that why not



I'd do a Zelig-style movie about R5-D4. Someone wrote a story about him years ago where the droid developed latent force abilities because he was owned by a Jedi master, which was why he "knew" to blow his own motivator to keep R2-D2 and C3P0 together at the Sandcrawler. I like the idea of this incidental little piece of junk droid showing up at all of the major occurrences in the Star Wars universe.


It would probably suck, but what the hell.

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Thu Jun 28, 2018 12:04 am
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have you ever heard of Tag & Bink? it's this comic that's sorta like Rosencrantz & Guildenstern Are Dead within the Star Was universe, sorta reminds me of your idea though done in a comedic non-canon fashion, no "brand integrity" straitjacket.


Thu Jun 28, 2018 12:23 am
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Oxnard Montalvo wrote:
since this is Random Thoughts thread, if Lucasfilm gave you a buttload of money to pitch a Star Wars spinoff what would you do?

I'm thinking a Untouchables-style movie with Jabba in the Al Capone role. it's not an origin story just a crime thriller involving the Imperials trying to seize control of the Hutt's turf. maybe Thrawn can be party to that why not

A horror film in which a small craft is forced to make an emergency landing on Hoth and is subsequently terrorized by Wampas.

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Thu Jun 28, 2018 12:31 am
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I want a Douglas Sirk-style melodrama, but the parts are all played by aliens from whatever race that snail-looking guy in the cantina was.

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Thu Jun 28, 2018 12:36 am
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A remake of National Velvet, about a young Tusken Raider and her favorite Bantha.

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Thu Jun 28, 2018 1:02 am
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Sy Snootles and the Angry Inch


Thu Jun 28, 2018 1:41 am
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Captain Terror wrote:
A horror film in which a small craft is forced to make an emergency landing on Hoth and is subsequently terrorized by Wampas.



I dig it.

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Thu Jun 28, 2018 2:02 am
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A Behind the Music documentary about Figrin D'an and the Modal Nodes.

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Thu Jun 28, 2018 2:11 am
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You guys should have Photoshop contests more often.

I just slapped this together, but I think it's kinda funny:


Image

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