I don’t really care about Star Wars
I don’t want big name celebrities doing voice over for animated movies. Give me actual VAs
Is Mark Hamill an exception? Or is he a voice actor that happens to have done some face acting as well?
Mark is a voice actor that has done some on screen work. I don’t care much about star wars and his joker and trickster is peak. Note though him in the long walk was epic.
You’ll probably get a kick out of this: https://www.youtube.com/watch?v=EL-VHe_4GmE
Having The Rock in your movie makes it worse.
I’ve only liked maybe two Rock movies and he still had hair in both of them.
I think you’re reversing causality. Movies that were bound to be bad cast The Rock. We need to experiment by casting The Rock in a Paul Thomas Anderson.
casting The Rock in a Paul Thomas Anderson
It’s complicated.
I actually like sitting in the first few rows.
First actual hot take I’ve seen in this post so far
Thus we can only assume that you are a giraffe or an okapi.
there is another option
I’ll just sit in the back and give you some space
I actually saw a family arguing about this today. The mother was like “we can sit anywhere, don’t you wanna sit down here in the front” and the daughter was like “no, I don’t want to crane my neck”. I was mildly annoyed because there was assigned seating and therefore the mother was encouraging rule breaking, but I minded my own business and didn’t say anything
Regular actors should stick to regular acting and leave voice acting to voice actors.
I cannot stand The Godfather. Any mafia shit, really. I hate the whole family hierarchy thing, I hate the guise of freedom when it’s just an organization reminiscent of cops or the military, and I hate the blind loyalty to a system that only serves one person or family, it’s all just so petty and capitalistic, the mafia is fucking stupid.
Yeah thats what you were supposed to take away from that movie, the creator of it isn’t trying to glorify that life but show you how pathetic it is. But idiots watch it and take the wrong message
As is the typical pattern.
“So you see, the lesson is that Gatsby’s pursuit of wealth only kept him further from-“
“Dude, that guy’s parties were AWESOME! He had like a freaking circus there and all! What minority group do I have to brutalize to be like him??”
This is like saying that you hate ‘Apocalypse Now’ and ‘Full Metal Jacket’ because you hate army.
You say that like I’m obligated to appreciate the film just because it claims to be critical of the mafia and if I don’t like it then I just didn’t get it. That’s not the case, I get it. I don’t like those films either, and yes, it’s because they’re army movies. Regardless of being critical of the subject material, you cannot make a movie entirely about the mafia (let alone, three of them), or the army, or anything, without romanticizing the subject matter. Do you have any idea how many people saw The Godfather and fell in love with the idea of the mafia, or Full Metal Jacket and Apocalypse Now and fell in love with the idea of being in the military, or SLC Punk and fell in love with the idea of being a poser? All those people fucking loved those movies. Some people missing the point doesn’t mean that everyone who gets the point is obliged to think a movie is good. The Godfather fucking sucks, because it’s about stupid people doing stupid things and sucking their own dicks about it.
One beautiful thing about art - and, for me, especially movies - is that they reveal truths within ourselves.
The first time I saw Fight Club, the “true” meaning went WAY over my head. I was young, I just saw a cool action flick with a twist ending. To me, the message was Fuck the System. I grew up, though. I can now clearly see the deeper themes, like warning about toxic masculinity and groupthink.
Similarly, Starship Troopers was a favorite of mine. I never understood the parallels to fascism when I was younger - I just rooted for Johnny and the gang.
The Godfather and Apocalypse Now fall squarely into that same set of movies. These are all movies that I enjoyed when I was young, but the themes were just beyond me. And that’s OK. My point is that you are definitely NOT obligated to appreciate these films. But maybe you can understand why these films are studied and rewatched and discussed. At least part of the reason is because someone who saw a film 5 or 10 or 30 years ago is only just now starting to understand it.
Sounds like you want films to be only about sunshine and daisies.
you cannot make a movie entirely about the mafia (let alone, three of them), or the army, or anything, without romanticizing the subject matter.
Way too bold a claim.
Sounds like you don’t understand different tastes and perspectives. I never said that that is inherently a bad thing, I just hate movies focused on military and authoritarian conformity and hierarchy as their main appeal, which is what the mafia is. As I said, I think the mafia is fucking stupid, I’m not asking for movies to be sunshine, I’m saying I don’t give a fuck about stupid mafia bullshit and glorified tales of such. Same goes for hoorah military shit. I’m not even saying it shouldn’t have been made, I just don’t like it, that was the point of this whole post. You can like the movie regardless of how stupid I think it is, art is subjective.
And creating a movie is a glorification of its materials, no matter the intent behind the creator. Just look at Fight Club, SLC Punk, Wall Street, The Punisher, Lolita, Full Metal Jacket, The Joker, etc… That’s not negotiable.
Ah, so ‘District 9’ glorifies refugee camps, ‘Black Mirror’ glorifies techno-authoritarianism, ‘Life Is Beautiful’ glorifies Nazi concentration camps, ‘Idiocracy’ glorifies abject stupidity, ‘One Flew Over the Cuckoo’s Nest’ glorifies abusive psychiatric hospitals, ‘Soylent Green’ glorifies overpopulation?
Your take was bizarre before, but with that comment it’s plain idiotic.
You’re intentionally misinterpreting what I’m saying, and it shows. You know what I’m getting at, I’m not playing in to this purposely obtuse bullshitery. I don’t like The Godfather and have valid criticisms of the films, get the fuck over it.
Also, you didn’t understand those movies and shows at all if you think those were the themes and subjects they were focusing on and exploring. Learn how to examine and interpret a story, you’re only seeing the metaphors, maybe watch some stuff on media literacy and film studies.
This is laughable coming from a guy who wrote “creating a movie is a glorification of its materials, no matter the intent behind the creator. That’s not negotiable.” Learn to take your head out of your ass before talking shit.
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Lookie here boys, we gots ourselves a tough guy. Hey, Rico, why don’t you show our friend what happens to tough guys round here. Maybe a little swim with the fishies will show him we ain’t so bad after all.
I agree that the system sucks and that, IRL, they’re bad people and harmful to society. Still a good movie though.
It insists upon itself.
“COZ IT HAS A VALID POINT TO MAKE, IT’S INSISTENT!”
I like special effects in very cheap or very old movies: it gives me that “wow, how did they manage to do that in 1925?” feeling. I like that feeling. Modern quality effects I just ignore. Some very detailed explosion in the space? Ok, something exploded. I noted that plot point.
I can still find modern special effects interesting enough if I find them aesthetically interesting – as though a lot of thought clearly went into them. I understand there were minimal hurdles to translating that vision to film, but it’s the vision itself I appreciate.
I also definitely get the same feeling you do watching older films and especially stage plays, where the constraints of the medium make it even more impressive.
How do you feel about something like Fury Road, where they make a point of including practical effects?
Were there any effects? I thought they just filmed some documentary in Texas or something…
Texas has changed a bit since I was there last…
Precisely.
Part of the awe of watching movies (The so-called movie magic) is that at the same time as you’re in awe of the film, there’s a part of you in awe of how much collaborative work it took to create that stunt/effect/miniature, etc…
There’s no magic anymore when one can just do the same thing in Blender at home if they had enough time to learn.
‘Man With a Movie Camera’ is great for this.
Same. I watched Citizen Kane for the first time a year or two ago, and some of the shots blew my mind. Like how the fuck did he do some of that shit?
The Wilhelm scream is not, and never was, a funny inside joke. When you’re watching an intense action scene and suddenly you hear this high pitched and often way to loudly mixed scream it instantly ruins the immersion.
Any movie that adds it is instantly ruined for me. I can somewhat excuse older movies since it wasn’t that wildly used yet but any contemporary director/audio engineer adding it really needs to get the idea out of their head that it’s funny/clever/subtle. Cause it’s not.
I’m mixed on this. If it’s a serious movie, then I agree wholeheartedly. It’s not funny and it breaks my immersion.
But if it’s a more relaxed or even funny movie? Bring it on, the more subtle the better, I love hearing it, always gives me a chuckle when I’m in a chuckling mood.
Like most inside jokes, it was better before the internet.
Now it’s the The Narwhal Bacons At Midnight of the industry.
Completely agree… There is exactly one scene where the Wilhelm scream is appropriate and that’s it.
That’s because the officer falling is Ben Burt, the sound designer for Star Wars and many other movies, who made the scream his signature. (Although he didn’t originate it.)
That doesn’t clock as the traditional Wilhelm scream to me.
I’m not trying to say you’re wrong, I don’t know much about this. I’m just saying if I were watching this with zero context, I wouldn’t recognize it as being the Wilhelm scream. Whereas normally I hear it in every movie it’s in, pretty clearly.
Now that you mention it, the scream in that clip is similar but a bit different. Good catch.
The main point I was trying to make was that the person getting knocked off and falling is the person who made it popular. Personally, I hate the Wilhelm scream. It’s way over used and really doesn’t add anything to the scene it’s in.
Cinematic universes shouldn’t live forever. At some point, there is just too much of it, both for people making it and for people watching it.
I think it’s more that we turned cinematic universes into a forced content machine to have x number of side character movies per year, with one major tentpole event every few years, with tv shows, video games, and comics all filing in gaps along the way. It’s exhausting. I’m fine with a connected universe that is allowed to live and breathe in it’s own.
Warm Bodies is an homage to the Shakespeare Cinematic Universe. Just, with zombies.
How old is the Shakespeare Cinematic Universe? Does it count if it started out live-action?
Denis either didn’t get Dune (doubt it, or at least I’d like to believe so, seeing how fascinated he’s been with Dune, historically, but he’s a visual artist and not a philosopher/writer so it’s always possible) or was forced by money people for money reasons to drastically change some important characters in ways that make no internal sense (but are more appealing to the Western audience). Both movies are basically just well shot, very pretty spectacles and, if you’ve read Dune, you know the essence of it is in the silent reflection, logical inferences and ideological battles, so even at their core the movies failed to understand Herbert. Idk, it’s just a mess, a very pretty one but “random religious disunity in a group that actually believes and is currently being subjugated by the great powers” and “spicy, annoying, immature New-Yorker who’s supposed to be the ideal, loving and wise woman (and much of the reason why the plot advances at all) for a man assaulted by visions and the pressure of power” definitely soured the whole watching experience.
Inception isn’t that great.
It’s complex for the sake of complexity and the complication needlessly makes the story more difficult to parse. The revelation about there being an additional layer before reality is such an overused trope that it wasn’t an interesting twist and added nothing to the plot.
I personally love it because it is genuinely open ended
The film/tv industry really really sucks at showing smart people.
Oppenheimer sucked. Barbie was only good in comparison to how much shittier stuff there is nowadays.
I haven’t seen a movie in years where exposition scenes haven’t felt like they were directed by a condescending 5th grader.
That’s not so much a hot take anymore.
I didn’t think One Battle After Another was very good. Felt like my generation’s Crash, though not nearly as bad
Actual hottake unlike the OP
The resistance was just entirely too goofy. It felt like 3 scenes from Dumb and Dumber were shoehorned into an action/thriller.
Good bones, though. It was a solid idea. Sean Penn and Teyana Taylor are absolutely unforgettable as Lockjaw and Perfidia.
I agree…what was the resistance fighting for? Why did we spend 45 minutes watching them fuck shit up with no explained goal?
All of the performances were great but Lockjaw was a stupid fuckin character. Hated the twist with him and hated the plot around it which…was apparently the ONLY plot because nothing else really happens.
Which feels weird to say because there was so much going on in the movie. But there’s only so much going on because everything in the movie exists for a single purpose and then it goes away. Every character has a single motivation.
I’m particularly mad because I walked in expecting to love it after several people whose movie opinions I almost always agree with told me they loved it. But I don’t love it, I’m neutral on it at best.
But…Crash was a pic everyone needed to have seen. Is OBaA the same?
Crash was a hard watch.
Crash was absolutely trash, this movie was at least watchable. It’s admittedly a really unfair comparison.
The reason I make it is because I feel the movie is getting a lot of praise because of what it’s “about” - and I use that word lightly because it’s not really…about anything. It’s just the pretense for the movie.
The movie opens with a revolutionary group raiding an ICE detention center to free people.
Even the worst practical effects look better long term than most CGI.
